Doctor Faustus: The Life of the German Composer Adrian Leverkühn as Told by a Friend: Analysis of Major Characters
"Doctor Faustus: The Life of the German Composer Adrian Leverkühn as Told by a Friend" is a novel that intricately weaves the life story of Adrian Leverkühn, a talented composer who believes he has made a pact with Satan for artistic brilliance. The narrative, delivered by his lifelong friend Serenus Zeitblom, explores themes of ambition, creativity, and the moral consequences of one's choices. Leverkühn's early aspirations in theology give way to a passion for music, influenced by the modernist techniques of Arnold Schönberg. As he gains fame through significant works like "Apocalypsis cum figuris," he becomes increasingly isolated and consumed by his obsession, paralleling the rise of evil in society.
The major characters surrounding Leverkühn serve to enrich the narrative: Wendell Kretschmar, his music teacher, embodies a sinister influence reminiscent of Mephistopheles; Rüdiger Schildknapp represents the burdens of unfulfilled ambition; and Nepomuk, Leverkühn’s nephew, brings fleeting joy. The story also touches on tragic figures like Inez Rodde Institoris and Clarissa Rodde, who reflect the darker sides of desire and despair. This multifaceted exploration of character and theme ultimately culminates in Leverkühn's tragic fate, highlighting the intricate relationship between genius and self-destruction. The novel not only examines individual downfall but also serves as a commentary on the societal turmoil of its time, reflecting broader historical and existential questions.
Doctor Faustus: The Life of the German Composer Adrian Leverkühn as Told by a Friend: Analysis of Major Characters
Author: Thomas Mann
First published: Doktor Faustus: Das Leben des deutschen Tonsetzers Adrian Leverkühn, erzählt von einem Freunde, 1947 (English translation, 1948)
Genre: Novel
Locale: Germany
Plot: Philosophical
Time: 1885–1945
Adrian Leverkühn (LEH-vehr-kewn), or Adri, a gifted musical composer who is convinced that he has entered into a twenty-four-year compact with Satan in which he has pledged his soul for an extended period of creativity. Like his Faustian predecessor in legend, he masters various academic goals while studying at Kaiseraschern, Halle, and Leipzig. At first he intends to become a student of theology, but while at Halle he deserts this field as arid and unchallenging. As a composer, he is influenced greatly by the technique of Arnold Schönberg. His most significant works are “Apocalypsis cum figuris” and the monumental “The Lamentation of Dr. Faustus,” for both of which he feels he has received unearthly inspiration at the expense of his salvation. Affable and spirited in his early years, he becomes literally and emotionally darker and more reclusive as his obsession intensifies. At the conclusion of the twenty-four years, in which time he has become internationally respected for his genius, he calls his friends to him and in anguish describes the imminent payment he must make of his soul. As he strikes the opening chords of “The Lamentation of Dr. Faustus,” he suddenly collapses over the keyboard, a victim of a paralytic stroke from which he never recovers in either mind or body. The novel, narrated by Leverkühn's warmest and most sympathetic friend, Serenus Zeitblom, is presented as the biography of this afflicted genius.
Serenus Zeitblom (zeh-REH-news TSIT-blohm), or Seren, a doctor of philosophy, the narrator of the novel. a retired professor of classical languages, sixty years of age at the time he is writing, he describes the creative life and the hideous transformation of Leverkühn, whom he has known since childhood and with whom he studied at Halle and Leipzig. Through Zeitblom, Mann creates a double chronology that achieves a rich, symbolic pattern. While the professor describes the life and death of his friend in a symbolic form that shows evil meeting its inevitable reward in chaos and destruction, he constantly refers to the current global struggle motivated by Adolf Hitler and his fanatic dreams for the German Fatherland. The description of Leverkühn's destruction (1930) prefigures the collapse of the perverted Nazi power (1945); hence, the symbolic motif is present in both an individual and national pattern.
Wendell Kretschmar (VEHN-dehl KREHT-shmahr), a cathedral organist who is Leverkühn's first music teacher. a short, bullet-headed man with a clipped mustache, he is prone to stuttering. He gains over his student an uncanny power, which he exercises throughout his life. He directs Leverkühn for several years and introduces him to new concepts of scale and harmony. Largely responsible for Leverkühn's decision to devote his life to music rather than to theology, Kretschmar is Mann's symbolic Mephistopheles.
Rüdiger Schildknapp (REW-dih-gehr SHIHLD-knap), a frequent companion of Leverkühn, an author who is forced by necessity to perform the hack work of translation. Having inherited his father's anguish of unfulfilled ambition, he is a parasitic admirer of Leverkühn's creative genius.
Rudolf Schwerdtfeger (SHVEHRT-feh-gehr), a gifted young violinist, a member of the Zapfenstosser Orchestra. He persuades Leverkühn to compose a violin sonata for him.
Sammael (SAM-mah-ehl), the name that Satan assumes when he visits Leverkühn and discusses the terms of the twenty-four-year agreement. He also is known as or Dicis et non Facis.
Nepomuk (NEH-poh-muhk), also called Nepo (NEH-poh) and Echo, Leverkühn's young nephew, who brings new joy and hope into his uncle's life as the contract nears its fulfillment. When the young man is fatally stricken with meningitis, Leverkühn is convinced that Satan is ruthlessly destroying his last hope and joy.
Inez Rodde Institoris (ih-NEHZ ROH-deh ihn-stihTOH-rihs), a woman who, although married, can find satisfaction only in an adulterous relationship with Rudolf Schwerdtfeger. When he tires of her love, she shoots him.
Clarissa Rodde, an aspiring actress who commits suicide rather than face the truth concerning her lack of talent.
Jonathan Leverkühn (LAY-vur-kewn) and Elsbeth Leverkühn, Adrian's parents living in Kaiseraschern. Jonathan, an apothecary by trade, possesses a passion to investigate the mysteries of nature, even at the expense of negating various religious beliefs of his society.
Max Scheigestill (SHI-geh-shtihl) and Else Scheigestill,the owners of the home in which Leverkühn lives in Pfeiffering during much of his adult life.
Ehrenfried Kumpf (AY-rehn-freed kewmpf) and Eberhard Schleppfus (AY-behr-hahrt SHLEHP-fews), professors of theology, Leverkühn's teachers at the University of Halle.
Marie Godeau (goh-DOH), a beautiful woman loved by Leverkühn. Hesitant to woo her forthrightly, he entrusts the courtship to his friend, Schwerdtfeger. The violinist falls in love with her, however, and woos her for himself.
Madame de Tolna, a wealthy Hungarian widow, Leverkühn's benefactress.
Jeanette Scheurl (shoyrl), a novelist, a friend of Leverkühn.
Esmerelda, the prostitute from whom Leverkühn contracts a venereal infection.