Death in Venice and Cat and Mouse Essay

Thesis The contradiction between ones public image and arrant(a) feelings or desires is a dominant origin in Death in Venice and Cat and Mouse. Both use tike characters to help represent this theme as well as foretell plot.Minor characters may often be overlooked in literature as the readers attention is concentrate on the major characters. However, minor characters are, in fact, an important contributor to theme and plot. On comparing Death in Venice and Cat and Mouse, a similar theme arises the struggle in human nature between what is conveyed on the surface and what is happening beneath. The minor characters represent this struggle in the major characters, while foreshadowing their fate. In Thomas Manns novella, the reader is invited to witness Aschenbachs struggle with admitting his love for Tadzio, while maintaining his respectable reputation. When examining the old man on the boat and the ugly singing quartet, it is clear that the appearance and manner of the minor chara cters are truly similar.They portray Aschenbachs internal torment and foreshadow his tragic buy the farm from grace. The minor characters in Gnter Grasss novel represent somewhat differently Mahlkes actions (participating in the war) conflicting with his inner beliefs. The undermining of the non-Christian priest and the behaviour of Mahlke towards the police lieutenant commander symbolize Mahlkes struggle and foreshadow his joining the military. Manns characters are clearly portrayed as grotesque relating to Aschenbachs tragic fall from grace, while Grasss characters are respectable men in society representing his unbowed feelings well-nigh the war. The struggle and fate of the Aschenbach personified in the minor characters is arguably more evident in Death in Venice simply because there is one protagonist. Nevertheless, both novel and novella effectively use the minor characters to change to this theme and foreshadow plot.In the beginning of chapter three in Death in Venice, Aschenbach is faced with his first unsettling encounter when he meets the old man on the vaperetto. This minor character represents Aschenbachs hidden desires beginning to expose because of the conflict with youth and age. A description of the old man is given on scalawag 211.The company on the upper deck consisted of a group of youthfulness menchattering, laughingOne of the party, who wore a light yellow summer example of extravagant cut, a scarlet necktie and a rakishly Panama hat, was the most conspicuous of them all in his shrill hilarity. But, as soon as Aschenbach took a slightly closer lookhis youth was false. He was old, there was no mistaking it. There were wrinkles round his eyes and mouth. His cheeks faint carmine rouge, the brown hairwas a wig, his neck was flaccid and scrawnyhis yellowish full complement of teethwas a cheap artificial set, and his hands with signet rings on both index fingers were those of an old man. (pg. 211)This quote signifies the truth (the mans real age) trying to be disguised through make-up, flashy attire, artificial teeth, and young company. Aschenbachs own struggle for admitting his love for Tadzio and concealing it is being introduced. The old man tries to mask the reality of his age similarly to Aschenbach failing to recognise his true feelings for Tadzio. Aschenbach must deny his inner desires, and hide them from the public eye, as he is a venerated writer. More importantly the grotesqueness in the old mans forgery of his age foreshadows Aschenbachs tragic fall from grace. The minor character is said to be flaccid and scrawny indicative of frailty much alike Aschenbachs impending state that consumes him and brings him to his tragic death.Disguising the truth can also be seen in Cat and Mouse through the priest, Father Gusewski. It can be argued that he takes advantage of Pilenz by exploiting his spiritual position. For example, on page 123 Pilenz describes the priests occasional wanderings of his handsdown Pilenzs backto the waist of Pilenzs gym bloomers, and Father Gusewski uses the power of his spiritual position to defend his behaviour when he says that it was Pilenzs catholic soul he was looking for.The priests inner desires are concealed through his position much like Aschenbachs are through his. Mahlkes conflict is in his spiritual inner self-importance conflicting with the inevitably of joining the war. Eventually, he conforms to society and ignores his true opinions of the war. Perhaps, the undermining of the priest foreshadows Mahlkes efforts to ridicule the lieutenant when Mahlke steals the medal. Also on page 123, the narrator discusses the priests attempts at changing his name to sound more Germanic. The priest is in a way complying with the war similarly to Mahlke. Perhaps, the priests actions foreshadow Mahlkes surrender of his faith when he temporarily joins the military.Similarly, the lead singer in the beggar virtuoso lies to Aschenbach when he conceals the truth about the cholera epidemic. The reaching of Aschenbachs death is once once again stressed by the appearance and manner of the minor character. However, there is a development in the grotesqueness of the character, perhaps, demonstrating a progression in Aschenbachs fall from grace. Words such as savagely, grimacing, grotesque, and stench infer a more sinister airwave to the minor characters. The alliteration simply emphasises the filth of the lead singer. This development further depicts the extent of Aschenbachs inner torment surfacing. Also, with the juxtaposition of opposite societies, the reader is make aware of the conflict between Aschenbachs inner desires and his image for the public. A hint of sarcasm underlines the singers response to Aschenbachs question about the disinfections. The many a(prenominal) short, repeated questions and exclamation points seem over-enthusiastic as if the singer is laughing inside and mocking Aschenbach.A unsoundness? But what sickness? Is the sirocco sickness? Is our police a sickness? The signore is having a little joke A sickness Certainly not signore (pg. 254)Then the singers laughing that followed is expound as shrieking he pointed his finger up at the guests, as if that laughing company above him were the most comical thing in the creative activity (pg. 254). Perhaps, the laugh is allegorical of Aschenbachs opinions of his love for Tadzio. Maybe, Aschenbach is ashamed of his feelings, and feels he is being exposed. The laugh may also be directed towards the visitors and their ignorance of the cholera epidemic. Hence, conveying the future, detrimental prospects of the guests and especially Aschenbachs.Mahlkes reaction to the lieutenant is similar to that of Aschenbachs towards the singer. There is an atmosphere of discomfort, exposure, and conflict during the lieutenant commanders visit on pages 88 through 96.Mahlke hadnt wanted to attendMahlke began to tremble before the lieutenant commander had even opened his mouth. M ahlkes hands clutched Mahlkes knees, but the frisson continuedSudden movement of the lieutenants headMahlke trembled, feeling no doubt that he had been recognised, but he hadntWhen Pilenz had turned around toward Mahlke, he was gonethe only reason why Mahlke had caught Pilenzs attentionwas that he didnt join in the laughter (pg. 88-96)Mahlke feels uncomfortable around the lieutenant as he trembles and does not laugh with the other boys. If the lieutenant delineates the war, then Mahlkes attitude towards it is clearly that of someone opposing it. Juxtaposing the hero and the anti-hero represents Mahlkes inner struggle. He cannot avoid joining the military, yet it goes against his inner beliefs. Mahlke must conform to society and conceal his real opinions much like Aschenbach does his. Mahlkes dissidence with the war efforts is evident again in his attempt to steal the lieutenants medal. This foreshadows Mahlkes accordance with the military as he has broken the law, and positions him self closer to the lieutenant who is symbolic of the war.In both texts, the minor characters embody the struggle of the major characters, while signifying their fate. The minor characters are, in effect, literary motifs used to symbolize theme and plot. In Death in Venice, Aschenbach must appease his love for Tadzio, as it cannot be unmasked for the publics eye. However, the famous writer succumbs to the power of his desire and stays in Venice despite the many warning signs, and he is led to his death. The same occurs in Cat and Mouse when Mahlke refuses to return to the military at the end of the novel. Mann and Grass carefully demonstrate the work out minor characters have on the text as a whole. Through characterising the minor characters and including them in the larger scheme of things, the importance of their role is made very clear.