Reading 1001 discussion

To what extent does Death in Venice fit the pattern of classical tragedy as genre? Is there rising and falling action, a turning-point (or denouement), an instance of tragic self-recognition, a characteristic tragic "flaw" or "error" (in the Aristotelian sense of hamartia)?

Tragedy is a form of human drama based on suffering. We clearly see Aschenbach suffer with his obsession of Tadzio as he stalks him in Venice. We see Aschenback's tragic flaw when he tries to leave Venice but his luggage gets lost and he has to go back to the hotel to wait for it to show up. He is clearly happy about having more time to follow Tadzio.

Aschenbach recognizes that he is obsessed he does try breaking the obsession but without any luck and it is his obsession that causes him to remain in Venice where he dies

Aschenbach initially suffers from the drying up of creativity and intends to reverse it by letting passion into his life. But that leads into obsession., which he definitely recognises, but he cannot free himself.

As in all tragedies, there is an ineluctable fate, usually death (in this case, Aschenbach's), and a goal/situation with no possible issue (here, Aschenbach's love for Tadzio).

I agree with Patrick

Agree with Patrick

The answer is, yes, it does. The instance of tragic self-recognition is when he realises that there is a sickness in Venice (does it ever actually state that it was cholera?) but he chooses not to warn the Polish family or make any effort to leave himself because he is obsessed with Tadzio and wants to prolong his time watching him with fatal consequences.