Nietzsche in Anglosaxony

The Image of the Tiger in Thomas Mann's Tod in Venedig

“…The transcendent is represented by the conflict between the Apollonian and the Dionysian: «Aschenbach's devotion to beauty was ... the service of the Apollonian ideal. He had sought to obtain `that measured limitation, that freedom from the wilder emotions, that philosophical calmness of the sculptorgod,' that Nietzsche ascribes to the disciples of Apo 110.. (12) But the Dionysian impulse is present in Aschenbach too: «Mann directly introduces the Dionysian as a primary symbol of the forces of nature that the creative artist can never dispense with. (13) and that Aschenbach had repressed throughout his career.…”