Book Read Free

Death in Venice and Seven Other Stories

Page 43

by Thomas Mann


  My father was royally entertained He had followed the French custom and carried hat and stick into the theatre with him. When the curtain fell he put on the one and with the other banged on the floor loud and long. “C’est épatant,” said he several times, quite weak with enthusiasm. At last it was all over and we were outside in the lobby, among a crowd of clerks who were quite uplifted and trying to walk, talk, and hold their canes like the hero of the evening. My father said to me: “Come along, let’s go and shake hands with him. Good Lord, weren’t we on pretty good terms once, Müller and I? He will be delighted to see me again.” So we instructed our ladies to wait for us in the vestibule and went off to pay our respects. We passed through the director’s box, next the stage and already dark, then through a little door and behind the scenes. Stage-hands were clearing away in the eerie darkness. A little creature in red livery, who had been a lift-boy in the play, stood leaning against the wall sunk in reveries. My poor father pinched her playfully where her figure was amplest and asked her the way to the dressing-rooms, which she pointed out with rather an ill grace. We went through a whitewashed corridor, where uncovered gas-jets flared in the confined air. From behind several doors issued loud laughter or angry voices, and my father gestured with his thumb to call my attention to them as we went on. At the end of the narrow passage he knocked on the last door, laying his ear to his knuckle. From within came a gruff shout: “Who’s there?” or “What the devil do you want?” or words to that effect. “May I come in?” asked my father in reply, whereupon the voice instructed him to do something else with which I would not sully the pages of my narrative. My father smiled his deprecating little smile and called through the door: “Müller, it’s Krull. Engelbert Krull. I suppose I may shake you by the hand, after all these years?” There was a laugh from inside and the voice said: “Oh, so it’s you, old horse! Always on the hunt for some sport, eh?” And as we opened the door it went on: “I suppose you won’t take any harm from my nakedness!” We went in. I shall never forget the disgusting sight that offered itself to my boyish eyes.

  Müller Rosé was seated at a grubby dressing-table in front of a dusty and speckled mirror with side wings. He had nothing on but a pair of grey tricot drawers, and a man in shirt-sleeves was massaging his back, the sweat running down his own face. The actor’s visage glistened with salve and he was busy wiping it off with a towel already stiff with rouge and grease paint. Half of his countenance still had the rosy coating which had made him radiant on the stage but now looked merely pink and silly beside the cheesy pallor of the man’s natural complexion. He had taken off the chestnut-brown wig and I saw that he was red-haired. One of his eyes still had deep black shadows beneath it and metallic dust clung to the lashes; the other was inflamed and watery and leered up at us with an indescribably gamin expression. All this I might have borne. But not the pimples with which Müller-Rosé’s back, chest, shoulders, and upper arms were thickly strewn. They were horrible pimples, red-rimmed, suppurating, some of them even bleeding; even today I cannot repress a shudder at the thought of them. I find that our capacity for disgust is in direct proportion to our capacity for enjoyment, to our eagerness for the pleasures which this world can give. A cool and indifferent nature could never be so shaken by disgust as I was at that moment. Worst of all was the air of the room, compounded of sweat and exhalations from the pots and jars and sticks of grease paint which strewed the table. At first I thought I could not stand it above a minute without being sick.

  However, I stood and looked—but I can add nothing to this description of Müller-Rosé’s dressing-room. Perhaps I should reproach myself for having so little that is objective to report of my first visit to a theatre—if I were not writing primarily for my own amusement and only secondarily for any public I may have. I am not bent on sustaining any dramatic suspense, leaving such effects to the writers of imaginative tales, who must contrive to give their inventions the beautiful and symmetrical proportions of a work of art—whereas my material is derived from my own experiences alone and I feel I may dispose it as seems to me good. Thus I shall linger upon such events as were of especial value or significance to me, neglecting no necessary detail to bring them out; passing over more lightly those of less personal moment. I have well-nigh forgotten what passed between my father and Müller-Rosé on that occasion—probably because other matters took my attention. For it is undoubtedly true that we receive stronger impressions through the senses than through the mind. I recall that the singer—though surely the applause which had greeted him that evening must have left him in no great doubt as to his triumph—kept asking my father whether it had “gone over” or how well it had “gone over.” I perfectly understood how he felt. I have even a vague memory of some rather ordinary turns of phrase which he wove into the conversation, as for instance, in reply to some insinuation of my father’s: “Shut your jaw—” then adding in the same breath: “over a quid of tobacco, there’s some on the stand.” But, as I said, I lent but half an ear to this or other specimens of his mental quality, being altogether taken up by my own sense impressions.

  “So this, then”—ran my thoughts—“this pimpled and smeary individual is the charmer at whom the indistinguished masses were just now gazing up blissful-eyed! This repulsive worm is the reality of the glorious butterfly in whom all those deluded onlookers thought to see realized all their own secret dreams of beauty, grace, and perfection! He is just like one of those disgusting little creatures which have the power of being phosphorescent in the evening.” But the grown-up people in the audience, who on the whole must know about life and who yet were so frightfully eager to be deceived, must they not have been aware of the deception? Or did they just privately not consider it one? And that is quite possible. For when you come to think about it, which is the “real” shape of the glow-worm: the insignificant little creature crawling about on the flat of your hand, or the poetic spark that swims through the summer night? Who would presume to say? Rather call up the picture you saw before: the swarm of moths and gnats, rushing blindly and irresistibly into the flame. With what unanimity in the work of self-delusion! What can it be, then, but that such an instinctive need as this is implanted by God Himself in the heart of man, to satisfy which the Müller-Rosés are created? Here beyond a doubt is operative in life a wise and indispensable economy, in the service of which such men are kept and rewarded. How much admiration is his due for the success which he achieved tonight and achieves every night! Let us then smother what disgust we feel, in the realization that he knows all about his frightful pimples and yet—with the help of grease paint, lighting, music, and distance—can move before his audience with such complete assurance as to make them see in him their heart’s ideal and thereby endlessly to enliven and edify them. And more: let us ask ourselves what it was that urged this miserable mountebank to learn the art of transfiguring himself nightly. What are the secret sources of the charm which possessed him and radiated from his finger-tips? The question needs but to be asked to be answered: who does not know the magic, the ineffable sweetness—for which any words we have are all too pale—of the power which teaches the glowworm to light the night? This man could not hear too often nor too emphatically that his performance gave pleasure, pleasure beyond the ordinary. It was the yearning of all his being towards that host of yearning souls, it was that inspired and winged his art. He gave us joy of life, we in our turn sated his craving for applause; and was this not a mutual satisfaction, a true marriage of desires?

  The above lines indicate the main current of the thoughts which surged through my eager and overheated brain as I sat there in Müller-Rosé’s dressing-room, yes, and for days and weeks afterwards possessed my musings and my dreams. And always they were accompanied by emotions so profound and shattering, such a drunkenness of yearning, hope, and joy, that even today, despite my great fatigue, the memory of them makes my heart beat faster. In those days my feelings were of such violence that they threatened to burst my frame;
often they made me somewhat ailing and thus served me as a pretext for stopping away from school.

  It would be superfluous to dwell upon the reasons for my growing aversion to this odious institution. I am only able to live when my mind and my fancy are completely free; and thus it is that memory of my years in prison is actually less hateful to me than those of the ostensibly more honourable bond of slavery and fear which chafed my sensitive boyish soul when I was forced to attend at the ugly little white box of a school-building down in the town. Add to these feelings the isolation from which I suffered, the grounds of which I have set forth above, and it will surprise nobody that I early had the idea of taking more holidays than the law allowed.

  And in carrying out my idea another game I had long practised was of signal service to me: that of imitating my father’s handwriting. A father is the natural and nearest model for the growing boy striving to adapt himself to the adult world. Physical structure as well as the more mysterious bond between them incline the boy to admire all that in the parent of which he is still incapable himself and to strive to imitate it—or rather it is perhaps his very admiration which unconsciously leads him to develop along the lines which the laws of inheritance have laid down. At the time when I was still digging great pothooks in my slate I already dreamed of guiding a steel pen with my father’s swiftness and skill; and how many scraps of paper I covered later on with efforts to copy his hand from memory, my fingers arranged round the pen in the same delicate fashion as his. His writing was not in fact very hard to imitate, for my poor father wrote a childish hand, like a copybook, quite undeveloped, its only peculiarity being that the letters were very tiny and prolonged immoderately by hairlines in a way I have never seen anywhere else. This mannerism I soon mastered to the life. In contrast to the angular Gothic character of the script the signature, E. Krull, had a Latin ductus. It was surrounded by a perfect cloud of flourishes, which at first sight looked difficult to copy, but were in reality so simple in conception that I succeeded almost better with the signature than with anything else. The lower half of the ? made a bold curve to the right, in whose open lap, as it were, the remaining Syllable was neatly nestled. A second flourish rose from the u, embracing everything before it, cutting the curve of the ? in two places and ending in an s-shaped down-stroke flanked like the curve of the ? with rows of dots. The whole signature was higher than it was long, it was both naïve and bizarre; thus it lent itself so well to my purpose that in the end the inventor of it could not himself have distinguished between my products and his own.

  Of course I very soon made practical use of a gift which had been acquired solely for my amusement. I employed it to gain my mental freedom—as follows: “My son Felix,” I wrote, “had severe cramps on the 7th of this month and had to stop away from school. Regretfully yours, E. Krull.” Or: “An infected sore on the gum as well as a sprained right arm obliged my son Felix to keep his bed from the 10th to the 14th. Regret his not having been able to attend school. Faithfully yours, E. Krull.” My efforts being crowned with success, nothing hindered me from spending the school hours of one day or even of several roaming about outside the town, lying stretched in the leafy, whispering shade of some green pasture, dreaming the dreams peculiar to my youth and state. Sometimes I hid in the ruins of the old episcopal seat on the Rhine; sometimes, even, in winter and rough weather in the hospitable studio of my godfather, who indeed chid me for my conduct, but in tones which showed that he had a certain sympathy with the motives which led to it.

  But now and again it came about that I lay in bed at home—and not always, as I have explained above, without any justification. It is a favourite theory of mine that every deception which has not a higher truth at its root but is simply a barefaced lie is by the very fact so gross and palpable that nobody can fail to see through it. Only one kind of lie has a chance of being effective: that which is quite undeserving of the name of deceit, being but the product of a lively imagination which has not yet entered wholly into the realm of the actual and acquired those tangible signs by which alone it can be estimated at its proper worth. True, I was a sturdy boy, who never aside from the usual childish ails had anything the matter with him. Yet when one morning I decided to avoid trouble and suffering by stopping in bed I was by no means practising a gross perversion of the actual situation. For why should I have gone to meet trouble, when I possessed the means of rendering powerless at will the arm of my oppressors? The higher truth actually was that the tension and depression due to my imaginative flights was not seldom so overpowering that they became actual suffering; together with my fear of what the day might bring forth they were enough to produce a basis of solid fact for my pretences to rest upon. I needed to put no strain upon myself to command the sympathy and concern of my people and the family doctor.

  On a certain day, when the need for freedom and the possession of my own soul had become overpowering, I began with producing my symptoms with myself as sole audience. The extreme limit of the hour for rising was overpassed in dreams; breakfast had been brought in and was cooling on the table downstairs; all the stupid louts in town were on their dull schoolward way; daily life had begun, and I was irretrievably committed to a course of rebellion against my taskmasters. The audacity of my conduct was enough to make my heart flutter and my cheek turn pale. I noted that my finger-nails had taken on a bluish tint. The morning was cold and I needed to throw off the covers for only a few moments and to lie relaxed—when I had brought on a most convincing attack of shivers and teeth-chattering. All that I am saying is of course highly indicative of my character and temperament. I have always been very sensitive, susceptible, and in need of cherishing; and everything I have accomplished in life has been the result of self-conquest—yes, to be regarded as a moral achievement of a high order. If it were otherwise I should never, either then or later, have succeeded by mere voluntary relaxation of mind and body in producing the appearance of physical suffering and thus in inclining those about me to tenderness and concern. To counterfeit illness effectively could never be within the powers of the coarse-grained man. But anybody who is made of finer stuff—if I may be pardoned for repeating the phrase—is always, though he may never be ill in the rude sense of the word, on familiar terms with suffering and can control its symptoms by intuition.

  I closed my eyes and then opened them to their widest extent, making them look appealing and plaintive. I knew without the aid of a glass that my hair was rumpled from sleep and fell in damp strands on my brow. My face being already pale, I made it look sunken by a device of my own, drawing in the cheeks and holding them imperceptibly with the teeth from inside. This made my chin look longer too and gave me the appearance of having got thin overnight. A dilating of the nostrils and an almost painful twitching of the muscles at the corners of the eyes contributed to the effect. I put my basin on a chair by my bed, folded my blue-nailed fingers across my breast, chattered my teeth from time to time, and thus awaited the moment when somebody should come to look me up.

  That would not be too early; my parents loved to lie abed and it might be two or three hours had passed before it became known that I was still in the house. Then my mother came upstairs and into the room and asked if I were ill. I looked at her large-eyed, as though in my dazed condition it was hard for me to tell who she was. Then I said yes, I thought I must be ill. What was the matter? Oh, my head, and the ache in my bones—“and why am I so cold?” I went on, in a monotonous voice, articulating with difficulty and tossing myself from side to side of the bed. My mother looked sympathetic. I do not believe that she took my sufferings very seriously, but as her sensibilities were very much in excess of her reason she could not bring herself to spoil the game but instead joined in and began to support me in my performance. “Poor child,” she said, laying her forefinger on my cheek and shaking her head in pity, “don’t you want something to eat?” I declined with a shudder, pressing my chin on my chest. The iron consistency of my performance sobered her s
omewhat; she was startled out of her enjoyment of the game, for that anybody should on such grounds refrain from food and drink was quite beyond her. She looked at me with growing sense of reality. When she had got so far I assisted her to a decision by a display of art as arduous as it was effective. Starting up in bed with fitful and shuddering motions I drew my basin towards me and bent over it with frightful twitchings and contortions of my whole body, such as could not be witnessed without sympathetic convulsions by anyone not possessed of a heart of stone. “Nothing in me,” I gasped between my writhings, lifting my wry and wasted face from the basin. “Gave it all up in the night”; and then I nerved myself to a protracted climax of such gaspings and chokings that it seemed I should never again get my breath. My mother held my head and repeatedly called me by my name in anxious and urgent tones, to bring me to myself. When my limbs began at length to relax, “I will send for Dusing!” she cried, and ran out of the room. Exhausted but with an indescribable and joyful sense of satisfaction, I fell back upon my pillows.

  How often had I imagined to myself such a scene, how often passed through all its stages in my mind before I ventured to put it into operation! I hope that I may be understood when I say that I felt as though I were in a joyful dream when for the first time I put it into practice and achieved a complete success. It is not everybody can do such a thing. One may dream of it—but one does not do it. Suppose, a man thinks, that something awful were to happen to me: if I were to fall in a faint or blood were to burst out of my nose, or if I were to have some kind of seizure—then how suddenly the world’s harsh unconcern would turn into attention, sympathy, and tardy remorse! But the flesh is obtusely strong and enduring, it holds out long after the mind has felt the need of sympathy and care; it will not manifest the alarming tangible symptoms which would make everybody imagine himself in a like state of suffering and speak with admonishing voice to the conscience of the world. But I—I had produced these symptoms, as effectively as though I had had nothing to do with their appearance. I had improved upon nature, realized a dream; and he alone who has tried to create a compelling and effective reality out of nothing, out of sheer inward knowledge and contemplation—in short, out of a combination of nothing but fantasy and his own personality—he alone can understand the strange and dreamlike satisfaction with which I rested from my creative task.

 

‹ Prev