p.52:   Tadzio's head  is described as "the head of an Eros with a creamy glaze of Parian marble."

p.85:   Eros, we are told, loves indolence, and for indolence was he created.

p.106:   Aschenbach is deliberating about the significance of his pursuit of Tadzio: "Besides he had the feeling that the eros which had taken possession of him was in a way singularly appropriate and suited to such a life."

p.136: "For surely thou knowest that we poets cannot follow the path of beauty lest Eros should join forces with us and take lead; yes, though heroes we may be after our fashion and chaste warriors, we are as women, for passion in our exultation and our longing must ever be love–such is our bliss and our shame. Now dost thou see that we poets can be neither wise nor dignified?”

In quoting Plato's Phaedrus, Mann makes us think of Gustav von Aschenbach as bringing his feelings of his passion to the surface.  He desires love but cannot bare the social consequences.  Gustav references Eros, the Greek god of love and lust, whose presence will possibly lighten the burden of his disgrace.

In Greek mythology, Eros (Greek: was the primordial god of lust, love, and intercourse; he was also worshipped as a fertility deity. His Roman counterpart was Cupid. In some myths, he was the son of the deities Aphrodite and Ares, but according to Plato's Symposium he was conceived by Poros (Plenty) and Penia (Poverty) at Aphrodite's birthday. This explains the different aspects of love.

 

Work Cited

"Eros." Wikipedia. http://en.wikipedia.org/wiki/Eros_%28mythology%29 Accessed July 14, 2008.