Critics revisited the story, realizing the importance of the protagonist’s sexual conflict to the general themes of the story. When portions of Thomas Mann’s private journals were first published in the late nineteen seventies, Mann’s private writing about his homosexual feelings became public knowledge. In 1930, the Knopf publishing house released the first English translation of the story in H. In the decade after World War I, younger critics looked to Death in Venice as an epitome of German classical form and tended to avoid discussing its sexual themes. Lawrence called organic energy and dynamism. While some thought the dense style was an echo of Flaubert’s psychological mastery, others argued that the text lacked life or what D. The story was regarded as an extension of Mann’s earlier work about the life and struggle of artists. Others condemned Mann’s ending for treating homosexuality as in itself wrong and associating it with the disease of cholera. Some condemned the homosexual theme of the story but saw the ending as a moral judgment against the main character.
Immediate critical reception of the story centered on its sexual themes and dense, meticulously crafted prose. It was the most popular writing of Mann’s early career and 18,000 copies were printed by the year’s end.
Death in Venice was first published in German as Der Tod in Venedig in the October and November 1912 issues of a literary magazine called Rundschau and in book form the following year.
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