Art as a reflection of life in death in Venice Death in Venice explores the relationship between an artist, namely Gustave von Aschenbach, and the world in which he lives. Aschenbach, destined to become an artist from a young age, represents art, while his surroundings represent life. As the story unfolds, Aschenbach goes on a journey of trying to give up his position as an artist in society. Aschenbach wants to experience life, rather than simply reflect on it, as he has done for so many years. This attempt at a lifestyle change can also be interpreted as a transition from the ways of Apollo to those of Dionysus, an archetype dating back to Nietzsche's Birth of Tragedy. Aschenbach's journey through Death in Venice can be seen as an artist's attempt to live life free from artistic interpretation. Ultimately, however, Aschenbach fails and his death proves that art is transitory. Due to Aschenbach's inability to abandon his position as an artist and become a part of life, it can be concluded that art is purely a reflection of life. Aschenbach's journey begins with an encounter with a stranger on a porch. "Evidently he wasn't Bavarian." (Mann, 4) Aschenbach, having never ventured far from home, is intrigued by this stranger who does not show him the respect and reverence he is accustomed to as a renowned artist. For the first time in his life Aschenbach is challenged. “So now, perhaps, feeling so tyrannized, he took his revenge by leaving him, refusing henceforth to carry on his art and taking away with it all the ecstasy he had known in form and expression.” (Mann, 7) Aschenbach, recognizing the challenge, decides to travel. The new territory he must embark on, the… medium of paper… being an artist, is shown throughout his life, including his final moments on the beach when he fears Tadzio's death. The irony of Ashenbach's passing highlights that art, as a reflection of life, is transitory. “And before sunset a shocked and respectful world received the news of his death.” (Mann, 73) Aschenbach has earned a place in history as an artist. But like all artists, he is replaced by his successors. Aschenbach's transition from the Apollonian to the Dionysian lifestyle demonstrates that art reflects life. In his case, art is nothing more than a reflection and, although beautiful and appreciated, it is not an essential element of life itself. Works Cited “Mann, Thomas.” Microsoft(r) Encarta(r) Encyclopedia 98. 1993-1997. Mann, Thomas. Death in Venice. New York: Vintage Books, 1989.http://philos.wright.edu/Dept/CLS/wk/204/DV.html