Sizemore suggests that “classical Greco-Roman allusions serve as guides and signifiers as related to Nietzsche’s work on aesthetics in The Birth of Tragedy” (239). Sizemore relates the Apollonian god evident in Aschenbach’s character as a foil to the Dionysian god-like Tadzio, whom he becomes obsessed with. In this way, Aschenbach feels compelled to succumb to his Dionysian tendencies, and urges of repressed fantasy (235). Aschenbach struggles to maintain “prudence and sobriety,” yet longs for reckless abandon. Further, Sizemore reminds a reader of Hermes’ influence as conductor of souls to the under-world, in the figure of the red-haired man, and Aschenbach’s instigating reason for being in Venice. Thus, an internal conflict supervenes in an otherwise stoic and disciplined
Sizemore suggests that “classical Greco-Roman allusions serve as guides and signifiers as related to Nietzsche’s work on aesthetics in The Birth of Tragedy” (239). Sizemore relates the Apollonian god evident in Aschenbach’s character as a foil to the Dionysian god-like Tadzio, whom he becomes obsessed with. In this way, Aschenbach feels compelled to succumb to his Dionysian tendencies, and urges of repressed fantasy (235). Aschenbach struggles to maintain “prudence and sobriety,” yet longs for reckless abandon. Further, Sizemore reminds a reader of Hermes’ influence as conductor of souls to the under-world, in the figure of the red-haired man, and Aschenbach’s instigating reason for being in Venice. Thus, an internal conflict supervenes in an otherwise stoic and disciplined