Contrary to popular belief, Romanticism has very little to do with what is popularly depicted as “romantic”. The term “Romanticism” refers to the artistic, literary, political, and philosophical movement of the late 18^th century, extending its influence into the early 19^th century. Originating in Western Europe, this era gained strength throughout the Industrial Revolution. The Romanticism movement redefined the fundamental ways in which people portrayed themselves and their opinions of the rest of the world. Many scholars view Romanticism as a response to the Age of Enlightenment. During this time period, intellectuals expunged the Enlightenment ideals of deductive reasoning, encouraging intuition, imagination, and feeling.

The fundamentals of Romanticism, defined above, appear throughout Mann’s “Death in Venice”. In fact, Mann’s novella illustrates the struggle between the predisposed Enlightenment beliefs and those of Romanticism.  Aschenbach is continuously restrained by attitudes, primarily the use of reason, that originated in the Enlightenment period. In Chapter 2, the narrator introduces Aschenbach as obtaining fame at an early age. The demanding pressure from his family and the public, as well as his unfortunate vulnerability to illness, prevented Aschenbach from knowing “leisure, the carefree idleness of youth” (Mann 13). This learned behavior, averting Aschenbach from acting on impulses, continues to dominate his life. Overwhelmed with a desire to travel to foreign nations, Aschenbach rationally ignores his urge, instead choosing to revisit Venice. Aschenbach’s acceptance of his emotions, a reflection of Romanticism, does not occur until he is introduced to Tadzio. However, Achenbach becomes torn between his obsession and his conscience. This is particularly apparent when Aschenbach attempts to pursue the young boy, considering laying his hand on Tadzio’s shoulder (Mann 87). Nevertheless, Aschenbach hesitates with embarrassment, retreating back to the hotel. Throughout the rest of the novel, Aschenbach gradually accepts the characteristics of the archetypal Romanticism protagonist, acting on individual emotions as opposed to reason.

Rejection of Enlightenment ideals is also reflected by the acceptance of exoticism. Romantics were particularly fascinated with realms of existence that were, by definition, opposed to the ordered conceptions of “objective” reason. Often, the everyday and the exotic appeared together in paradoxical combinations. For instance, the exotic is evident when Aschenbach dreams that “in the glow of some smoky embers he discerned a mountainous region similar to the one in which his summerhouse was located, and down from the wooded heights, in the spotty light, past tree trunks and mossy boulders, down tumbled whirling men and beast, a swarm, a raging horde, inundating the slope with bodies, flames, bedlam, a reeling rounddance: women, stumbling over long hide garments hanging free from the waist, shaking tambourines over heads flung back and moaning. Brandishing blazing, sparking torches and naked daggers, holding up snakes with flickering tongues by the middle of their bodies, or cupping their breasts in both hands and shrieking; men with horns coming out of their foreheads, fur loincloths, and shaggy torsos, with necks bent and arms and thighs raised, with a pounding of brazen cymbals and frenzied beating of drums; smooth-skinned youths prodding he-goats with leafy staffs, clutching their horns, letting themselves be dragged along and whooping at each leap (Mann 126-127)."

Another element of Romanticism that is portrayed throughout Mann’s “Death in Venice” is the importance of nature. Throughout the short story, Aschenbach maintains a relationship with the environment. The narrator often details the weather as a depiction of Aschenbach’s mood, a psychological concept introduced by Freud. After departing from his homeland, Aschenbach initially vacations in the Adriatic Islands. Unsatisfied with the location’s rainy atmosphere, Aschenbach bitterly departs for Venice. During the first half of his travels, “both the sky and sea remained turbid and leaden”, an accurate rendering of Aschenbach’s mood (Mann 31). It is important to note that after Aschenbach is introduced to Tadzio, the sun begins to appear, reflecting the uplifting of Aschenbach’s mood. 

One final aspect of Romanticism displayed throughout “Death in Venice” is the influence of war. During the Romantic time period, the world was faced with severe turmoil and various wars. The emotions associated with such tragedy served as an inspiration for much writing during this era. Aschenbach references War while informing the reader that he is proud of his achievements. Achenbach notes that "the dazzling give and take of the interchange between Voltaire and the king on the subject of war had been conceived behind that brow; those eyes, wearily peering out through their lenses, had seen the gory inferno of the sick bays in the Seven Years War. On a personal level, too, art is life intensified: it delights more deeply, consumes more rapidly; it engraves the traces of imaginary and intellectual adventure on the countenance of its servant and in the long run, for all the monastic calm of his external existence, leads to self-indulgence, over refinement, lethargy and a restless curiosity that a lifetime of wild passions and pleasures could scarcely engender (Mann 23)".

Sources:

http://academic.brooklyn.cuny.edu/english/melani/cs6/rom.html

http://en.wikipedia.org/wiki/Romanticism#Influence_of_War_on_Romantic_Writings