THIS DOCUMENT PROVIDES VARIOUS AIDS FOR READERS OF JOHN WOOD’S TRANSLATION OF THOMAS MANN’S DOCTOR FAUSTUS:

CHAPTER-BY-CHAPTER SUMMARY 1 CHRONOLOGY OF ADRIAN LEVERKÜHN’S LIFE 5 SOME OF THE REFERENCES IN DOKTOR FAUSTUS 6 VARIOUS ILLUSTRATIONS FROM ALBRECHT DÜRER 20

CONTENTS OF THOMAS MANN’S DR. FAUSTUS

Chapter I: The narrator, Serenus Zeitblom (SZ), introduces himself. Begins writing in May of 1943, 2 years after Adrian Leverkühn’s death. He is uncertain about his qualifications for writing AL’s biography. He loved AL, but the latter was surrounded by coldness.

Chapter II: SZ continues self-description. He was born in 1883 in Kaisersaschern on the Saale River near Merseburg, where AL later attended school. AL belonged to the Protestant majority; SZ Catholic. AL a humanist, a friend of reason, fine arts, the world of the human spirit. He is retired from teaching classical languages at a Gymnasium. He and his wife, Helene, have two sons and a daughter. Although musical — he plays the viola — he is wary of music’s demonic side.

Chapter III: AL’s family descended from farmer’s and craftsmen. His parents Jonathan and Elsbeth have a farm, Buchel, in Weißenfels, near Kaisersaschern. A brother is also a farmer. His sister is Ursel. Jonathan reads the Luther-Bible but is also interested in mystical science. He studies fantastical, ambiguous creatures, such as beautiful but poisonous butterflies and seashells apparently inscribed by nature. One butterfly, Heatera esmeralda, protects itself by looking like a leaf. Another interest is the problematic boundary between organic and inorganic beings.

Chapter IV: AL’s mother. The milkmaid Hanne, who teaches the children how to sing rounds. Thoughts on AL’s later concept of art.

Chapter V: SZ contemplates Germany and war. AL, while in his village school, is recognized as gifted and sent to Gymnasium.

Chapter VI: School in Kaisersaschern. AL lives with his uncle, Nikolaus Leverkühn, who sells musical instruments and builds violins. Kaisersaschern is described as having strong vestiges of medieval times, as well as a number of odd characters.

Chapter VII: AL is so intelligent that he masters schoolwork without effort or interest (except for a fascination with math). Uncle gives him a harmonium, on which he experiments with musical relationships: “Music is ambiguity as a system.”

Chapter VIII: Wendell Kretzschmar, AL’s music teacher. Gives lectures on

1 Beethoven’s Piano sonata no. 32 and the composer’s relationship to the fugue. He also tells the story of Johann Conrad Beißel, of the Ephrata Cloister, and his system of musical composition, with “master” and “servant” notes. Kretzschmar characterizes the present age is one of homophonic-harmonic-melodic music, as opposed to the older (and superior) polyphonic-contrapuntal kind (a positive form of “barbarism”).

Chapter IX: Kretzschmar’s interest in English literature. AL studies musical history and attempts to reconcile homophonic and polyphonic musical composition. Interest in the Lied.

Chapter X: AL decides to study theology “out of pride.”

Chapter XI: AL begins his university study in Halle, the historical center of pietism. The older and newer streams of Christianity are criticized. Theology necessarily becomes demonology.

Chapter XII: AL’s room has a picture of the magic square from Dürer’s “Melancholia.” Lectures on Pythagoras. Prof. Ehrenfried Kumpf, redolent of Luther, lectures on the necessary presence of the devil in Christianity.

Chapter XIII: Prof. Eberhard Schleppfuß on the sexual nature of the devil, as well as his vital role in the divine plan. The story of Heinz Klöpfgeißel and Bärbel.

Chapter XIV: SZ’s reflections on numerology. A discussion among the theological students of the “Winfried” fraternity. Especially Deutschlin represents a proto-fascist tendency.

Chapter XV: AL’s mother wary of Kretzschmar’s influence. A discussion of music, which is seen as theology plus mathematics. Is originality possible? AL decides to study music in Leipzig.

Chapter XVI: Leipzig 1905. Letter from AL to SZ in self-consciously jocular style. He reports on a visit to a whorehouse where he meets, but does not sleep with, Esmeralda. Further reflections on the history of music.

Chapter XVII: SZ’s reflections on Adrian’s (empty) relationship to sex and love. Tells of his own affair with a cooper’s daughter.

Chapter XVIII: Adrian composes a tone poem, “Meerleuchten,” but no longer believes in symphonic music, which which he compares to a root-canal operation (restoring a dead tooth). Developing interest in polyphonic vocal music.

Chapter XIX: AL tracks down Esmeralda in Hungary and, despite her warning that she has syphilis, sleeps with her. The two physicians he visits come to mysterious ends before they can treat him: one dies suddenly, the other is arrested. The tone row h (= “B” in the German notational system)-e-a-e-es (= E-flat) becomes a standard feature of

2 his future compositions.

Chapter XX: Rüdiger Schildknapp, scholar of English, translator, and poet, helps AL with his opera, Love’s Labor’s Lost. AL also composes Lieder based on texts from Dante, Blake, and Verlaine.

Chapter XXI: SZ’s reflections on the war, fascism, barbarism, and the limits of his own narrative possibilities. AL’s trip to Basel with Kretzschmar to hear “Meerleuchten” performed. Key reflexions on the nature of art. Lieder based on poems by Brentano.

Chapter XXII: AL’s sister, Ursula, is married. Her 4th child will be the angelic Nepomuk (also known as Echo). SZ seeks to combine the archaic with the revolutionary within the strictest possible form. First mentions of a 12-tone system.

Chapter XXIII: Munich around 1910. The Rodde sisters, the seductive violinist Rudolf Schwerdtfeger. AL and Schildknapp take a bike trip to Pfeiffering, meet the Schweigestills, whose farm resembles Buchel (AL’s parents’ farm).

Chapter XXIV: AL and Schildknapp go to Italy, SZ and wife visit.

Chapter XXV: AL and the devil make pact.

Chapter XXVI: SZ reflects on the various chronological levels of his narrative: the historical time, the time of composition, and the time of its reading. Expectations of the Normandy invasion. AL moves to Pfeiffering, SZ to Freising.

Chapter XXVII: Love’s Labor’s Lost is finally finished and premiered in Lübeck. Klopstock’s “Frühlingsfeier” (Festival of Spring). AL reports on his bathysphere adventures and exploration of the cosmos. Composition of the symphonic “Wunder des Alls”.

Chapter XXVIII: Munich in 1913-14. Breisacher and von Riedesel. Cultural pessimism and decay.

Chapter XXIX: Helmut Institoris is to marry Inez Rodde, who loves Rudi Schwerdtfeger.

Chapter XXX: World War I. SZ serves briefly. Comparison of the two world wars. AL untouched by events, composes “Gesta Romanorum,” played by marionettes (alluding to Heinrich von Kleist’s “On the Marionette-Theater,” about the nature of consciousness). In both politics and art: desire for a “breakthrough”.

Chapter XXXI: during WWI AL is taken care of by two women, Meta Nackdey and Kunigunde Rosenstiel, in addition to Else Schweigestill. The story of Gregorious. Discussion of AL’s compositions. AL proposes a redeeming musical breakthrough that will bring music to all the people, while SZ argues for an elitist appreciation.

3

Chapter XXXII: Helmut Institoris and Inez Rodde marry and set up an exemplary household. Simultaneously she has an on-going affair with Rudi Schwerdtfeger. SZ serves as her confidant. Her mother moves to Pfeiffering.

Chapter XXXIII: 1944, Normandy invasion by the Allies. Bombing of German cities. Nazis as barbarians. Munich in 1919: collapse, workers’ revolution. AL sick. Andersen’s story of “The Little Mermaid.” Rudi Schwerdtfeger ingratiates himself with AL, wants a violin concerto.

Chapter XXXIV: 1919: the collapse of the German state and of the era of bourgeois humanism. AL reads mystics and works on “Apocalipsis cum Figuris,” based on Dürer’s woodcuts.

Continuation of XXXIV: debates in the apartment of Sixtus Kridwiss about the future of culture. Proposal of a “rebarbarizarion,” precursor of Nazism.

Conclusion of XXXIV: aestheticism as precursor of barbarism. “Apocalipsis cum Figuris” as the synthesis of the highest intellectualism and barbarism.

Chapter XXXV: Clarissa Rodde kills herself with poison. Inez, her affair with Rudi over, joins a group of women who regularly take morphine.

Chapter XXXVI: Weimar Republic. Frau von Tolna, a rich Hungarian widow, is AL’s patron. He and Rudi spend 12 days in her castle in feudal circumstances. Rudi performs AL’s violin concerto in Vienna.

Chapter XXXVII: Saul Fitelberg, impresario, tries to recruit AL for the world of the music business. A Polish Jew, he represents the larger world of culture and society, especially in Paris. He offers to spread his magic cloak (a theme from the traditional Faust story) and take AL out of his isolation. AL declines.

Chapter XXXVIII: Discussion of AL’s violin concerto. Discussion at the home of the industrialist Bullinger about serious, heavy music vs. light and sensual. How Rudi Schwerdtfeger “seduced” AL.

Chapter XXXIX: Adrian avenges the “seduction” through an attraction to Marie Godeau, who might possibly redeem him from his isolation.

Chapter XL: AL, Rudi, Schildknapp, SZ, Helene, Marie and an aunt make an excursion in the environs of Munich. A discussion about Ludwig II (“Mad Ludwig”).

Chapter XLI: AL asks Rudi to speak for him with Marie and convey his proposal of marriage to her. Rudi is himself attracted to her but agrees. The last time that AL and Rudi see each other.

4 Chapter XLII: Rudi carries AL’s message to Marie but then speaks for himself (perhaps AL intended this all along). Marie and Rudi become engaged and plan to move to Paris. He gives a farewell concert, but after that, in a trolley car, with SZ as a witness, Inez Institorus shoots him out of jealousy.

Chapter XLIII: Reflections on Germany’s descent, but SZ’s continued love for his country. AL suffers physically and spiritually. His father and Max Schweigestill die. Now AL’s creative powers return with the composition of chamber pieces and the concept for the “Lament of Dr. Faustus”.

Chapter XLIV: Nepomuk (Echo) Schneidewein, AL’s angelic 5-year-old nephew, visits. Chapter XLV: Echo dies of meningitis. AL holds himself responsible and curses the devil.

Chapter XLVI: April 1945. Germany’s collapse approaching. The battle of Berlin. Buchenwald. Is Nazism a perverted form of the national character? Composition of the “Lamentation of Dr. Faustus”, a kind of anti-Beethoven’s 9th (Ode to Sorrow). Using the 12-tone system, rigorously organized yet also expressive. Perhaps a possibility of hope in its hopelessness, a transcendence of despair?

Chapter XLVII: 1930: AL assembles his friends and confesses all. Collapses at the piano.

Epilogue: Reflections on Germany, from which SZ feels estranged. Plan to send his manuscript to America to be translated and published there. SZ questions his own actions. Story of AL return to Buchel with his mother and his death in 1940.

CHRONOLOGY OF ADRIAN LEVERKÜHN’S LIFE:

1885 Born at Oberweiler, near Weißenfels in Saxony. 1895 Lodges with uncle in Kaisersaschern while attending grammar school. 1899 Starts music lessons with Wendel Kretzschmar. 1903 Study of theology at Halle University. 1905-10 Study of composition at Leipzig. Contracts syphilis. [Works: Meerleuchten (“ocean lights”, orchestral piece in the manner of Debussy); Lieder from Verlaine and Blake; Brentano song-cycle. Dante settings.] 1910 Moves to Munich. Lodges with the Rodde family. [Works: begins Love’s Labor’s Lost]. 1911 Stay in Italy (Rome and Palestrina) with Rüdiger Schildknapp. Dialogue with the devil. 1912 Return to Germany. Residence at Schweigestills’ farm in Pfeiffering, near Munich. [completes Love’sLabors Lost]. 1913 [Works: Songs of Blake and Keats. Frühlingsfeier (Festival of Spring) for baritone, organ and string orchestra.

5 1914 [Works: Wonders of the Universe, fantasia for orchestra in one movement; Gesta Romanorum, opera for puppets] 1919 [Work: Apocalipsis cum figuris, oratorio] 1924 Visits Tolna Castle in Hungary with Rudi Schwerdtfeger. [Work: Violin concerto] 1925 Proposes marriage to Marie Godeau (via Rudi Schwerdtfeger). 1927 [Works: Music for strings, woodwind and piano; String quartet; Trio for violin, viola and cello] 1928 Visit and death of his nephew Nepomuk (“Echo”) [Works: Ariel’s Songs from The Tempest; The Lamentation of Dr. Faustus, choral symphony. 1930 Mental collapse. Taken back by mother to the family farm. 1940 Death.

SOME OF THE REFERENCES, ETC., IN THOMAS MANN’S DOKTOR FAUSTUS (PAGE NUMBERS REFER TO THE TRANSLATION BY JOHN E. WOODS, VIKING EDITION)

Prelude Dante’s Inferno: Canto II Translation (http://www.everypoet.com/archive/poetry/dante/dante_i_02.htm):

Day was departing, and the embrowned air Released the animals that are on earth From their fatigues; and I the only one Made myself ready to sustain the war, Both of the way and likewise of the woe, Which memory that errs not shall retrace. O Muses, O high genius, now assist me! O memory, that didst write down what I saw, Here thy nobility shall be manifest!

Chapter I p. 6: conjuratus = [Latin] sworn member (here: someone who knows Latin) Johann Reuchlin (1455-1522) = German Humanist.

Letters of the Obscure Men = satirical pamphlet (1515-17) by the Humanistis Crotus Rubeanus (1480-[after] 1509) and Ulrich von Hutten (1488-1523). Humanism was a Renaissance cultural movement that turned back toward Greek and Roman thought while stressing human, as opposed to divine, matters. divinis inflexibus ex alto = with divine influences from above necrosis = death of most or all cells of an organ p. 7 Gesta Romanorum = [Latin] a popular collection of anecdotes (late 13th century) The Revelation of St. John the Divine, the last book the New Testament, also known as the Apocalypse. It is also a basis for one of Adrian Leverkühn’s last works, an oratorio, “Apocalipsis cum figuris” (Apocalypse with Pictures), the title of a series of woodcuts

6 by Albrecht Dürer (1471-1528) – see: http://kunst.gymszbad.de/kunstgeschichte/motivgeschichte/apokalypse/duerer/apokalyp se.htm or http://www.lessing- photo.com/search.asp?a=1&kc=202020209041&kw=REVELATION%2C+DUERER& p=1&ipp=6

Chapter II p. 9 Kaisersaschern = the name of a fictitious town. The name suggests “Emperor’s Ashes”; the town is, according to the novel, the site of Otto III’s grave. Saale = a river on which the university town of Halle is also located. Meister = [German] maestro p. 10 Jovis alma parens - [Latin] God as a nourishing parent p. 11 bonae litterae = ([Latin] literally, 'good letters'). Fine literature. polis = Greek city-state p. 12 Eubouleus = In Greek mythology, a human form of Pluto, the god of the underworld. This section refers to the Eleusian Mysteries. p. 16 locos parallelos = [Latin] parallel places p. 19 Demiurge = a deity responsible for the creation of the Universe. p. 21 phantasmagoria = a sequence of real or imagined images

Chapter V p. 36 ingenium = [Latin] innate or natural quality; disposition, inclination p. 41 Volk = [German] (national) people, populace, folk

Chapter VI p. 39 nunc stans = [Latin] the everlasting now (an eternal instant that has no temporality) St. Vitus’s dance = Syndenham’s chorea (a nervous disorder, once thought to be caused by evil spirits)

Chapter VIII p. 55: Beethoven's Piano Sonata 32 in C minor, opus 111 (pp. 56- 60) has, as Kretzschmar points out, only two movements. You can hear them both at: http://en.wikipedia.org/wiki/Piano_Sonata_No._32_(Beethoven) (scroll down to the "Media" section). There are lots of YouTube sites with just the first movement. An interesting one has Sviatoslav Richter: http://www.youtube.com/watch?v=CBFphuxUlQA See also a master class presentation by Andras Schiff that might give a small

7 impression of what Kretzschmar is doing: http://www.youtube.com/watch?v=wk-iqxqixhY&feature=related p. 57 plus ultra = [Latin] “further beyond”; the extreme or perfect point p. 58 adagio molto semplice e cantabile = [(Italian) musical notation] very slow, simple and songlike fioritue = flowery ([Italian] musical) ornaments p. 59 meadow-land. Thomas Mann based Kretzschmar's lecture on a demonstration that the sociologist/philosopher/musicologist Theodor W. Adorno (1903-1969) gave during a dinner party at Mann's house in Pacific Palisades. When Kretzschmar describes the D-G-G motif, he substitutes some words and phrases for the notes, including "meadow- land". That is John Woods's translation of "Wiesengrund," which also happens to be Adorno's middle name. p. 61 allegro fugato = [(Italian) musical notation] quick, lively, in the manner of a fugue p. 62 Missa = [Latin] mass “Could ye not watch with me one hour?” Matthew 26:40 (English Standard Version): “And He came to the disciples and found them sleeping. And He said to Peter, ‘So, could you not watch with me one hour?’” p. 64 a cappella = [Italian] without instrumental accompaniment p. 68 Kundry = name of a figure from Wagner’s opera, Parzival. p. 69 per se = [Latin] by or in itself or themselves; intrinsically p. 71 Anabaptists – a radical Protestant sect that began at the time of the Reformation. They maintained that only adults should be baptized. For information on Ephrata and Johann Conrad Beissel, see http://www.cob-net.org/cloister.htm

Chapter IX p. 84 cantilena = [Italian] a lyrical melody in a composition p. 87 Imitatio dei = [Latin] “imitating God”. The religious concept of finding virtue by imitating God.

Chapter X p. 91 sacrificium intellectus = [Latin] sacrifice of the intellect (to faith) Polyhymnia = the Greek Muse of sacred poetry p. 92 Vale = [Latin] farewell

8 p. 94 De Civitate Dei = [Latin] City of God, written in the early 5th century, St. Augustine’s book presents a Christian philosophy of history.

Chapter XII p. 102: see a copy of Dürer’s “Melancholia” and a detail with the magic square at the end of this document, pp. 20-21. p. 103 Autòs épha = [Greek] “he (the master) said it” entelechy = realization of form p. 106 Si Diabolus non esset mendax et homicida = [Latin] if the devil were not a liar and murderer Dicis et non facis = [Latin] you who speak but do not act on your words p. 107 Gaudeaumus Igitur = [Latin] title of a student drinking song Apage! = away with you!

Chapter XIII p. 108 venia legendi = [Latin] habilitation (an academic rank that is a prerequisite for a teaching position at a German university) p. 112 Flagellum Haereticorum Fascinariorum, [Latin] by Nicholas Jacquier (written 1458, published 1581), defined witchcraft as a new heresy. illusiones daemonum = [Latin] devilish illusions p. 114 instrumentum = [Latin] instrument, means p. 115 [Latin] femina (= woman) / fides (= loyalty) / minus p. 117 specificum = [Latin] remedy

Chapter XIV p. 123 in corpore = [Latin] as a body p. 126 quod demonstramus = [Latin] which we are proving

Chapter XV p. 141 prima materia = [Latin] the original, basic material (term in alchemy) magisterium = [Latin] the philosopher’s stone o homo fuge = [Latin] O man, fly (away)!

Chapter XVI p. 148 The Purification = Candlemas (festival on February 2 to commemorate the purification of the Virgin Mary) p. 149 cenrum musicae = [Latin] musical center

9 punctum contra punctum = [Latin] counterpoint amicus = [Latin] friend p. 150 Gradus ad Parnassum by Fux = [Latin] a manual written in Latin in 1725 to teach counterpoint; by Johann Joseph Fux (1660-1741) in praxi = [Latin] in practice, in ordinary usage per aversionem = [Latin] completely, totally zelo virtutis = [Latin] manly zeal Vale. Iam satis est = [Latin] Farewell. I am satisfied p. 152 Freischütz = 1821 opera by Karl Maria von Weber (1786-1826) ars metrificandi = [Latin] the art of writing verse p. 153 “J’espère vous voir….” = [French] I hope to see you this evening, but this moment is capable of causing me to go mad

Chapter XVIII p. 160 particella = [Italian] a score with full solo or vocal parts, but with the orchestral parts written just for piano. p. 161 H-E-A-E-Es = [German musical notation for the notes B-E-A-E-E-flat]

Chapter XX p. 171 for a synopsis of Love’s Labour’s Lost, see http://www.mcgoodwin.net/pages/otherbooks/ws_loveslaborslost.html pp. 176f Schaffgosch Quartet; Lautensack; Bermeter = [fictitious names]

Chapter XXI p. 184 to play va banque = [French] to bet all one’s chips p. 185 Lebensraum = [German] “room to live” = term employed by the Nazis to justify the seizing of land to the East p. 189 Claudio Monteverdi (1567-1643), Girolamo Frescobaldi (1583-1643), Giacomo Carissimi (1605-1674), Dietrich Buxtehude (1637-1707) musica reservata = a kind of 17th-century polyphonic music that emphasized emotional expression p. 190 Herr Ansermet = Ernest Ansermet (1883-1969), founder of L’Orchestre de la Suisse Romande p. 191 corno di bassetto = [(Italian) an old wind instrument, similar to a clarinet] pp. 194ff Clemens Brentano (1778-1842), romantic poet.

10 p. 196 Schott in Mainz = [a famous music publisher] Volkmar Andrea (1879-1962), Swiss conductor and composer

Chapter XXII pp. 205ff “strict style” To learn more about Schönberg’s 12-tone system: www.nytimes.com/2007/10/14/arts/music/14tomm.html http://www.schoenbergmusic.com/videos/arnold-schoenbergs-twelve-tone-method.htm http://library.thinkquest.org/27110/noframes/periods/twelvetone.html B-E-A-E-E-flat [see p. 161]

Chapter XXIII p. 209 Harmonium = a small, free-standing organ powered by foot pedals p. 215 bel étage = [French] the second story of a building, containing the most expensive apartments p. 216 sit venia verbo = [Latin] please excuse the expression p. 217 Victory Gate = “Siegestor” = the victory arch that marks the southern edge of Schwabing, Munich’s traditional bohemian quarter

Chapter XXIV p. 227 Melone = [German] melon p. 228 l’avvocato = [Italian] lawyer campagna = [Italian] countryside quest’uomo = [Italian] this man distinti forestieri = [Italian] distinguished guests libero pensatore = [Italian] free thinker; free spirit p. 229 governo = [Italian] government fa sangue il vino = [Italian] the wine makes blood p. 231 melisma = [Italian] singing a single syllable while moving through a succession of notes p. 234 bevi! = [Italian] drink!

Chapter XXV p. 238 in eremo = in the hermitage p. 239 poveretto = [Italian] poor thing pranzo = [Italian] lunch Kierkegaard and Mozart’s Don Juan. In Either / Or, Søren Kierkegaard (1813-1855) maintains that Don Giovanni leads an “aesthetic existence,” living for the immediate

11 satisfaction of his senses. He lacks the ability to reflect, which is characteristic of the spirit (or: intellect [Geist]), and hence he has no inner life, no “subject.” Kierkegaard sees music as the best way to express such an aesthetic existence, since both are pure experience, existing only in the present. p. 242 Dicis et non facis = [Latin] you who speak but do not act on your words Dicis et non es = [Latin] you who speak but do not exist p. 243 carcer = [Latin] prison exitium = [Latin] destruction, ruin confutatio = [Latin] something that confutes, proves false pernicies = [Latin] pest, bane, curse, disaster condemnatio = ([Latin] in Roman law) that which gives the judge the authority to condemn p. 245 respice finem = [Latin] look to the end p. 246 Andersen’s little mermaid = the novel’s first mention of Hans Christian Andersen's fairy tale of "The Little Mermaid." You can find the story at: http://hca.gilead.org.il/li_merma.html p. 247 spirochaeta pallida = [Latin] spiral-shaped bacteria (including those that cause syphilis) Flagellum Haereticorum Fascinariorum, by Nicholas Jacquier ([Latin] written 1458, published 1581), defined witchcraft as a new heresy. fascinarii = [Latin] to cast a spell on p. 248 faunus ficarius = [Latin] a kind of faun (a type of lustful Roman god) p. 249 The Philosopher, De anima = [(Latin) The original Greek title: Περὶ Ψυχῆς] Aristotle and his treatise on living things Malleus = Malleus Maleficarum = [Latin] “The Hammer of Witches,” a treatise written in 1486 by Heinrich Kramer, who sets out to refute all arguments against the existence of witches and to aid magistrates in identifying them. p. 250 provocatio = [Latin] a citation before a higher tribunal sine pudore = [Latin] without shame, without offense to modesty p. 252 Si Diabolus non esset mendax et homicida = [Latin] if the devil were not a liar and murderer ingenium = [Latin] innate character or talent non datur = [Latin] it is not given p. 253 meilleur = [French] best

259 salva venia = [Latin] with your indulgence, if you’ll pardon my language

12 légèrment = [French] lightly p. 260 pernicies = [Latin] pest, bane, curse, disaster confutatio = [Latin] something that confutes, proves false p. 262 attritio cordis = [Latin] abrasion, suffering of the heart contritio = [Latin] repentance p. 263 figuris, characteribus, and incantationibus = [Latin] image, characterization, and enchantment = the three forms of conjuration p. 264 ab dato recessi = [Latin] from today p. 265 giornali = [Italian] journals

Chapter XXVI p. 270 semper idem = [Latin] always the same

Chapter XXVII p. 280 “Festival of Spring” (Die Frühlingsfeier), written in 1759, is the best-known poem by Friedrich Gottlieb Klopstock (1724-1803). Its description of a powerful thunderstorm was famously alluded to in Goethe’s Sufferings of Young Werther (1774). p. 288 une fleur du mal = [French] allusion to Les Fleurs du Mal (Flowers of Evil), the 1857 collection of poems by Charles Baudelaire (1821-1867) Homo Dei = [Latin] man as God’s creation p. 289 Hermann von Helmholtz (1821-1894), physicist

Chapter XXVIII p. 292 chaconne = [Italian] a form of dance music in slow triple time sarabande = [Italian] another, stately form of dance in triple time plaisir d’amour = [French] “the pleasures of love,” a classical French love song Attilio Malachia Ariosti (1666 – 1729), Italian composer viola di bordone = [Italian] a kind of viola da gamba p. 294 Zeitgeist = [German] “spirit of the time”

Chapter XXX p. 316 la guerre, quel grand malheur = [French] “war, what a great misfortune” p. 320 J’en ai assez jusqu’à la fin de mes jours = [French] I’ve had enough to last till the end of my days p 322 Gesta Romanorum, a Latin collection of anecdotes and tales, compiled around 1300

13 p. 323 Pierre Monteux (1875-1964), conductor p. 324 sotto voce = [Italian] spoken quietly, not to be overheard p. 325 allusion to Über das Marionettentheater (On the Marionette-Theater), written by Heinrich von Kleist (1777-1811) in 1810. The essay interprets the Fall from Paradise as the acquisition of consciousness and posits a theoretically possible “breakthrough” return to a state of grace.

Chapter XXXI p. 327 méchant = [French] wicked, vicious p. 333 Decameron = a collection of novellas by Giovanni Boccaccio (1313-1375) p. 334 pièce de résistance = [French] the most notable part p. 337 sacerdotal = priestly

Chapter XXXII P 345 comme il faut = [French] correctly, as it should be Leopold von Ranke (1795–1886), Ferdinand Gregorovius (1821-1891), German historians p. 346 une jeune fille accomplie = [French] an accomplished girl

Chapter XXXIII p. 357 la gloire = [French] glory p. 362 little mermaid – see p. 246 Bertel Thorvaldsen (1768-1844), Danish sculptor, creator of the “little mermaid” sculpture in the Copenhagen harbor p. 367 Manuel de Falla (1876-1946), Spanish composer p. 369 Frederick Delius (1863-1934), Sergei Prokofiev (1891-1953), composers (including of violin concertos) allegro molto = [Italian] in very brisk tempo adagio = [Italian] in slow tempo

Chapter XXXIV p. 373 “like John the Martyr in his cauldron of oil.” St. John the Evangelist was martyred in boiling oil, pictured in Dürer’s series of woodcuts, “Apocalipsis cum figuris” (Apocalypse with Pictures) – see picture at the end of this document, p. 23.

14 p. 375 filia hospitalis = [Latin] “innkeeper’s daughter”; in student slang, a servant girl in a student boarding house Historia ecclesiastica gentis Anglorum ([Latin] Ecclesiastical History of the English People), written by Bede around 731 p. 376 Ezekiel = a prophet,whose preachings are recorded in the Book of Ezekiel in the Hebrew Bible p. 383 Daniel zur Höhe, his Proclamations, with its Christus Imperator Maximus, is fictional character who had already appeared in Thomas Mann’s short story “Beim Propheten” (At the Prophet’s), written 1904. He is based on the Catholic mystic Ludwig Derleth (1870-1948), who wrote a work entitled Proklamationen in 1904. p. 385 Georges Sorel (1847-1922), a French revolutionary syndicalist, wrote Réflexions sur la violence (Reflexions on Violence) in 1908. p. 386 sacrificium intellectus = [Latin] sacrifice of the intellect (to faith) p. 394 glissando = a continuous slide between two notes Barabbas was a criminal who was condemned to die at the same time as Christ. When Pontius Pilate offered to spare one of them crucifixion, the crowd shouted out its choice, “Barrabas!” This cry forms a dramatic part of Bach’s St. Matthew Passion. p. 396 Otto Klemperer (1885-1973) conductor p. 397 fortissimo tutti = a passage performed loudly by all the voices and instruments together

Chapter XXXV p. 400 cidevant = [French] former p. 401 boche = French pejorative for “German” p. 402 entrevue = [French] meeting, interview p. 404 “Je t’aime. Une fois je t’ai trompé, mais je t’aime.” = [French] I love you. I cheated on you once, but I love you. désolé = [French] sorry; disconsolate et maintenant — comme ça = [French] and now — it is like this

Chapter XXXVI p. 408 sans-culottism = an extreme revolutionary movement (the sans-culottes [“without breeches”] were a lower-class radical group in the French Revolution that embraced the Terror) p. 409 Bruno Walter (1876-1962), conductor

15 p. 411 Meister = [German] maestro

Chapter XXXVII p. 418 Arrangements musicaux. Représentant de nombreux artistes prominents = [French] Organisation of musical events. Representative of numerous prominent atists. p. 419 “Cher Maître …Monsieur le professeur” = [French] My dear Maestro, how happy, how moved I am to meet you! Even for someone as spoiled, as jaded as I, it is a moving experience to meet a great man. I’m delighted, Professor.” “Vous maudirez l’intrus … de manque” = [French] You will execrate my intrusion, dear Mr. Leverkühn, but to me, being already in Munich, it was impossible to avoid” “Du rest, je suis convaincu” = [French] Further, I am convinced” “Mais après tout” = [French] But after all” “Maître … Mais oui, certainement … merci, mille fois merci” = [French] Maestro … but indeed, certainly, thanks, a thousand times thanks p. 420 “et puis … charment!” = [French] And then this house, so full of dignity, with its so maternal and capable hostess, Madame Schweigestill. But that [the name Schweigestill] means, ‘I know how to be silent.’ Silence, silence! How charming that is!” C’est étonant = [French] it’s astonishing Figurez-vous = [French] imagine ridiculement exagérée = [French] ridiculously exaggerated C’est la vérité pure, simple et irréfutable = [French] it is the pure, simple, and irrefutable truth A qui le dis-je? Au commencement était le scandale = [French] But to whom am I saying this? At the beginning there was the scandal [Refers to the premiere in Paris of Stravinsky’s “Rite of Spring” in 1913] à la longue = [French] over time vis-à-vis = [French] “face to face” (i.e. the person I’m talking to) un creux, une petite caverne = [French] a hollow, a small cave nommé Théâtre des fourberies gracieuses = [French] called the Theater of the Graceful Deceptions p. 421 je vous assure = [French] I assure you “Ah, madame, oh, madame, que pensez-vous, madame, on me dit, madame, que vous êtes fanatique de musique?” = [French] Ah, Madam, oh, Madam, what do you think, I am told that you are fanatic about music? enfin = [French] finally j’y trouve ma satisfaction et mes délices = [French] I find my satisfaction and delight et nous nous rencontrons dans ce désir = [French] and we meet each other in this desire qui fournit le sujet = [French] this topic offers Insulte! Impudence! Bouffonnerie ignomineuse! = [French] Insult! Impudence! Ignomious buffoonery! Erik Satie (1866-1925), Virgil Thomson (1896-1989), avant-garde composers

16 Quelle précision! Quel esprit! C’est divin! C’est suprême! = [French] What precision! What ingeniousness! It is divine! It is supreme! p. 422 un boche qui par son génie appartient au mond et qui marche à la tête du progrès musical = [French] a Kraut who through his genius belongs to the world and marches at the head of progress Ah, ça c’est bien allemand, par example! = [French] Oh, that is so very German, for example! Et que vous enchaînez votre art dans un système de règles inexorables et néoclassiques = [French] And how you subject your art to a system of inexorable and neoclassical rules grossièreté = [French] roughness en effet, entre nous = [French] indeed, between you and me Non, j’en suis sûr = [French] No, I’m sure of it C’est ‘boche’ dans un degré fascinant = [French] It is ‘Kraut’ to a fascinating degree énormément caractéristique = [French] enormously characteristic p. 423 ce cosmopolitisme généreux et versatile = [French] this generous and versatile cosmopolitanism Cher Maître, je vous comprends à demi mot = [French] Dear Maestro, I understand you, even if you do not express it clearly Mais c’est dommage, pourtant = [French] But it is a pity nevertheless particulièrement à Paris = [French] especially in Paris Tout le mond sait, madame, que votre jugement musical es infaillible = [French] Everyone knows, Madam, that your musical judgment is infallible p. 424 Dites-moi donc = [French] Tell me then séverité = [French] severity; gravitas un état d’âme solennel et un peu gauche = [French] a solemn and somewhat awkward emotional state ce refuge étrange et érémitique = [French] this strange and hermitic refuge demi-fous excentriques = [French] half-crazy eccentrics une espèce d’infirmier, voilà! = [French] a kind of nurse, there you have it! dans quelle manière tout à fait maladroite = [French] in such a clumsy fashion p. 425 destin / destinées = [French] fate; destiny pénible = [French] hard; painful anéantissement = [French] annihilation le dernier ennui = [French] the most extreme boredom avec quelque raison = [French] with some justification qui sont simplement stupéfiants = [French] which are simply stupifying Tout cela est un peu embarrassant, n’est-ce pas? Une confusion tragique = [French] That’s all a bit embarrassing, is it not? A tragic confusion.

P. 426 A la bonne heure = [French] as is right

17 Karl von Piloty (1826-1886) and Hans Makart (1840-1884) were popular painters of elaborate historical and exotic themes. “Makart-bouquets” were a popular form of dried-flower arrangement. Ah, ah, comme c’est mélancolique, tout ça! = [French] oh, how sad it all is! sincèrement = [French] sincerely pour saluer un grand homme = [French] to salute a great man répugnance = [French] repugnance en psychologue = [French] as a psychologist valse brillante = [French] “brilliant waltz” (title of Chopin’s opus 18) p. 427 volkstümlich = popular; of the people que est essentiellement anti-sémitique = [French] which is essentially anti-Semitic pour prendre congé = [French] to take my leave une marguerite = [French] [a kind of] daisy; also the French form of the name Margarete (Gretchen), the heroine of Goethe’s drama Faust. Charles Gounod’s opera, Faust (1859), is loosely based on Part 1 of Goethe’s drama. In one scene, Marguerite/Margarete plucks petals from a flower, presumably a daisy, playing he- loves-me-he-loves-me-not. Jules Massenet’s opera, Werther (1892), was loosely based on Goethe’s novel The Sufferings of Young Werther (1774) Laisse-moi, laisse-moi contempler [ton visage] = [French] a quotation from Gounod’s Faust: “Let me, let me contemplate [your face]” lui aussi = [French] he, too Comme c’est respectable! Pas précisément humain, mais extrêmement respectable = [French] How respectable that is. Not exactly human, but extremely respectable p. 428 une analogie frappante = [French] a striking analogy nom de guerre = [French] an assumed name under which one engages in an activity such as war je vous le jure = [French] I assure you médiateur = [French] mediator Mais c’est en vain. Et c’est très dommage = [French] But it is in vain. And that is a great pity. j’etais enchanté. J’ai manqué ma mission = [French] I was enchanted. I have failed in my mission Mes respects, Monsieur le professeur. Vous m’avez assité trop peu, mais je ne vous en veux pas. Mille choses à Madame Schwei-ge-still,. Adieu, adieu = [French] My respects, Professor. You have assisted me too little, but I am not angry with you. A thousend greetings to Madam Schwiegestill. Farewell, farewell

Chapter XXXVIII p. 430 andante amoroso = [Italian] somewhat slow, in a tender manner parlando = [Italian] expressive, done in the manner of speech Charles Auguste de Bériot (1802-1870), Henri Vieuxtemps (1820-1881), Henryk Wienawski (1835-1880) – violin virtuosi

18 p. 431 bel étage = [French] the second story of a building, containing the most expensive apartments p. 432 Pfälzer = [German] from the Palatinate p. 433 mon coeur s’ouvre à ta voix = [French] my heart opens itself up to your voice

Chapter XXXIX p. 437 Paul Sacher (1906-1999), conductor

Chapter XL p. 445 Linderhof Castle, built by King Ludwig II of Bavaria (Ludwig the Mad) near Oberammergau between 1863 and 1886.

Chapter XLVII p. 523 figuris, characteribus, formis coniurationum = [Latin] image, characterization, forms of conjuration (see p. 263 p. 524 nigromantia, carmina, incantatio, veneficium = [Latin] black art, magical songs, augury, mixing of poisons

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VARIOUS ILLUSTRATIONS

Dürer’s “Melancholia”

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Detail from Dürer’s “Melancholia” — the magic square. Any four numbers in a straight line add up to 34.

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Dürer’s “Four Horsemen of the Apocalypse” from “Apocalipsis cum figuris”

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Dürer’s “The Martyrdom of St. John” from “Apocalipsis cum figuris”

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