Finally, this is one way to reconcile the delight in beauty with the bourgeois life. Aschenbach, on one reading, has spent virtually all of his adult life balancing his restrained homosexuality, which is bound together with his sensitivity to beauty and thus with his artistic vocation, against the demands of conventional society.

Those citizens are distracted by the toys technology has supplied, and fail to recognize the ways in which what they most deeply want is made vulnerable by the coming disruptions of human relations on an over-heated planet.

For a pragmatist like me, the important issues concern the words we might deploy to achieve our purposes, rather than the language we actually use.

The balance between literature and philosophy in Schopenhauer and Nietzsche is different from that struck in the novella, but, as Mann clearly pointed out in his writings about both thinkers, both modes are present.

In working towards ways of reading Mann, so that his own advances in suggesting new perspectives will become more vivid, I do some fairly standard philosophical analysis of ideas in Nietzsche and Schopenhauer.

First, my frame of reference for the Britten opera shifted. I'd always thought of Britten's approach in Death in Venice as another exploration of the plight of the individual whose aspirations are at odds with those of the surrounding community: his last opera returning to the themes of Peter Grimes. As I read and listened and thought, however, Billy Budd came to seem a more appropriate foil for Death in Venice.

A different vision of ethics is that of a collection of resources people can use to act better. The resources might be firm rules that could always be relied on. Or they might be ideals that could often be followed without thinking but that sometimes conflicted with one another.