The symbol of Aschenbach’s departure on this journey is the sign of the beginning of his decline. It is from this point on that Aschenbach transforms from being a normal man who makes logical decisions with is brain, to one that makes decisions with his heart. As Aschenbach’s journey progresses, he notices many men with red hair and long white teeth like the one that inspired him to travel. This shows the constant rapid declining of Aschenbach. His first sight of Tadzio in the hotel marks the beginning of the extreme heart-driven Aschenbach. His description of Tadzio clearly portrays his obsession. “With astonishment Aschenbach observed that the boy was perfectly beautiful. His face, pale and charmingly secretive with the honey-colored hair curling around it, with its straight-sloping nose, its lovely mouth and its expression of sweet and divine earnestness recalled Greek statues of the noblest period, and, along with its extremely pure perfection of form, it was of such unique personal charm that the onlooker thought he had never come across anything so felicitous either in nature or in art” (pg 20, Mann). Once Aschenbach begins to follow Tadzio’s every step, the reader notices that Aschenbach is becoming more and more indulged in Tadzio’s life rather than his own. "His head and his heart were drunk, and his steps followed the dictates of that dark god whose pleasure it is to trample man's reason and dignity underfoot". Even when Aschenbach learns of an epidemic, he realizes that if he dies along with Tadzio, they will be able to meet in heaven. Aschenbach loses total control of his mind and gives in to Venice, a “city, half fairy tale and half tourist trap, in whose insalubrious air the arts once rankly and voluptuously blossomed, where composers have been inspired to lulling tones of somniferous eroticism." Even when given the opportunity to leave Venice and escape cholera, his love for Tadzio weighs him down. Aschenbach then has fantasies about everyone else dying, and him being left alone with Tadzio. Now it can be clearly seen that Aschenbach’s passion is coming directly from the heart, and no thinking is being done on his part. This extreme obsession from Aschenbach’s heart immediately leads to his downfall. He dies in his chair, and it is hours before anyone notices.
Albert Camus introduces Meursault as a character people are quite taken aback by. The very first line in the novel gives a very strong idea about Meursault’s character. “Maman died today. Or yesterday maybe, I don’t know.” (pg 1, Camus). Initially Meursault is one who is driven by nothing but his mind and body. He does not show any love or emotions to anyone. When confronted with the death of his own mother, he becomes quite irritated by the trouble he has to go through to attend her funeral. During the funeral, Meursault complains about the heat. Camus characterizes Meursault as a desensitized, heartless person who cares for nothing but a calm and steady life. He enjoys spending his weekdays at work, and then weekends just strolling around. This routine is what makes Meursault the character he is. He is one who is controlled by extreme logic, and has almost no emotions to use in decision-making. Even the one thing that evokes emotions in every man, a woman, is used by Meursault as an object for sex. When his girlfriend questions his love for her, he replies with “I told her it didn’t mean anything but that I didn’t think so”(pg 35, Camus).
Meursault’s routine life continues until he shoots Raymond’s mistress’ brother. This action marks the beginning of Meursault’s transition to having emotions. Meursault reinforces the fact that he lacks emotions by claiming that he did love his mother, but “that didn’t mean anything.”. He also claims to the Magistrate that he has no faith in god whatsoever. Meursault’s actions disgust those around him, as well as the reader. As human beings we are instilled with many emotions and it is hard for us to digest the idea of not being disturbed by the death of a parent. Meursault’s spark of emotion comes at the very end of the novel after he has shouted at the chaplain. It is not until now that Meursault realizes the “indifference of the world” (pg 122, Camus). He accepts that life lacks meaning and order, and also accepts the inevitability of his death. Another big change in Meursault’s character is his longing for companionship on the day of his execution. This revelation is what moves Meursault from one extreme, driven by the mind, to the other extreme, driven by the heart.
In conclusion, Aschenbach and Meursault were both characters that initially lived their lives based on what their minds told them. As the novels progressed, there were specific events that changed the way these characters behaved in society. Such events dragged both Aschenbach and Meursault from one extreme to the other extreme, which lead to their downfall.
Word Count : 1179
Works Cited:
Camus, Albert. The Stranger. Trans. Matthew Ward. New York: Vintage International: A branch of Random House, Inc., 1988.
Mann, Thomas. Death in Venice. Trans. Stanley Appelbaum. New York: Dover Publications, 1995.
