Look at Mann's reading habits, his explicit comments on Nietzsche, and his copy of Birth of Tragedy, and it starts to seem doubtful that this work of Nietzsche's played much role in the gestation of the novella.

Mann was less interested, I think, in constructing any kind of "portrait of an age" than he was in delineating an individual consciousness in which profound struggles about identity and direction arise - struggles that Mann himself had not only reflected on but felt keenly. Visconti takes up this central focus of the novella, but he couples it with a more social perspective.

There are actually two separate issues here. The first is whether (as ancient philosophers and Nietzsche assume) only the privileged elite can live a worthwhile life. The second is whether it's possible to fulfill the roles of both serious artist and upstanding citizen. It seems to me that philosophy can dissect both questions, by delineating clearly the anatomy of the good life and the structural conditions of the roles.

Mann is widely recognized as a master of irony and ambiguity, yet it's remarkable how quickly people foreclose options he carefully leaves open. Lots of readers - including eminent critics - jump to conclusions: that Nietzsche's Birth of Tragedy is a central background text, that Aschenbach is an inferior writer, that he's never been attracted by pubescent male beauty before, that he dies of cholera.

Wilhelmine Germany was hostile to the expression of same-sex love - and, of course, Mann would have known of the fate of Oscar Wilde. His early reading of Platen's poetry, and, probably when he was in his early twenties, of Platen's diaries, introduced him to a form of sexual expression he found profoundly congenial. It's not quite Platonic.

Any writer who could handle all these different voices would deserve high praise, but to do so without any sense of jarring or incoherence is an extraordinary accomplishment.

I argue against literal interpretation of religious doctrines. Religions make progress when they emancipate themselves from literalism, and take their doctrinal statements to be metaphors or allegories.