"Music is energy in itself, yet not as idea, rather in its actuality. I call your attention to the fact that that is almost the definition of God. Imitatio Dei - I am surprised that it is not forbidden."
- Thomas Mann, Doktor Faustus
Let me mention another, perhaps dearer example of Clavdia's place within the dark-and-light logic of the novel: Hans's description of his boat ride at twilight. The topos is first introduced as Hans listens to Settembrini's portrayal of his (Settembrini's) grandfather, whose world Hans takes to be so radically different from that of his own grandfather. His comparison of the two worlds reminds Hans of his boat ride on a lake one evening, when he sat poised between the day and night, the setting sun and rising moon, shuttling his enraptured attention rapidly and repeatedIy between the two. At the end of the same chapter, the narrator informs us that Hans has been conscientiously heeding Settembrini's educative discourse on patriotism, the dignity of man, and beautiful literature only in order to license his thoughts in another, opposite direction (in anderer, in entgegengesetzter Richtung, Mann's emphasis!), namely, in that of Clavdia. When he thinks of her as Settembrini talks, he is again reminded of his day-bright/moon-night experience. One reading might take the topos as opposing Clavdia to Settembrini, her misty eastern night sky to his clear western daylight, with Hans poised between them. But another reading might note that the entire topos is actually applied to Clavdia alone, who is made to encompass and include both poles, both worlds, much as was the case with her contemplated photograph. That is, she is the opposite (die Entgegengensetzte) of Settembrini in not accepting opposition—or rather, opposition that denies and excludes from itself half its terms. And this includes not accepting the gender and erotic distinctions that traditionally accompany such oppositions and on which Bildung traditionally depends.
Eric Downing, from ‘Photography and Bildung in The Magic Mountain’ in Thomas Mann’s The Magic Mountain: A Case Book.