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4 - The theme of decline

Published online by Cambridge University Press:  15 December 2009

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Summary

Some two years before the plan for Buddenbrooks had taken hold of him, Mann wrote to a friend a short sketch of his family's fall from grace, and the aspects of interest which the story contained for him:

My father was in business, a practical man but with an inclination towards art and interests outside the business. The eldest son (Heinrich) is a poet, but also a ‘writer’, with strong intellectual gifts, expert in criticism, in philosophy and politics. Then comes the second son (me), who is only an artist, only a poet, only a man of mood, without intellectual power, socially useless. Hardly surprising if finally the late arrival, the third son, devotes himself to the vaguest of the arts, the art furthest of all from the intellect, the art that requires nothing more than nerves and senses, and no brains at all – that is, music. That's what you call degeneration. But I find it devilishly nice. But, quite apart from that, with the impressions and influences he grows up amidst, the lad will scarcely develop into a business man

(To Grautoff, late May 1895)

This letter, with its disarming openness, shows the charm which Thomas Mann found in the story of the ‘sensitive latecomer’. It shows the stylisation of his family story, and it suggests that degeneration was a standard topos of intellectual discussion in his day. It makes obvious that the novel would have a descending structure.

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Mann: Buddenbrooks , pp. 29 - 37
Publisher: Cambridge University Press
Print publication year: 1987

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