Using the Adagietto of Mahler's Fifth is one of the touches of pure genius in Visconti's film (even though Mahlerians complain very loudly that the piece has been ruined), since it corresponds perfectly to Aschenbach's yearnings and to his circling walks around Venice.

We find in the novella a seamless interweaving of at least two narrative voices, one of which is that of an observer so sympathetic that his language appears to be Aschenbach's own, the other of which is superficially celebratory (except at the moment of moralistic condemnation) but undercuts Aschenbach by means of an ironic detachment.

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.

Mann's Death in Venice actually contains a snippet of philosophy about the second question, when Aschenbach, collapsed in the plaza, engages in his quasi-Socratic, anti-Socratic, ruminations.

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.

In ethics, we don't make progress by discovering pre-existent truths; we do so by solving problems.

The theory of evolution explains to us what our ancestry has been. It does not explain away our worth. Why should we be afraid to learn more about what we are?