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Thomas MannA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Bethsy falls ill with pneumonia, and the family is deeply affected by her suffering. As death nears, she experiences moments of lucidity mixed with hallucinations in which she calls out to deceased loved ones. Her death, sudden yet expected, leaves the family in mourning.
Tony mourns her mother while dealing with the selfishness of the household personnel, who take away her mother’s belongings. The family discusses the inheritance and future of the Buddenbrooks’ house. Despite their emotional attachment, the siblings decide that the house must be sold.
Hanno, dressed in his sailor suit, is brought by his parents to say goodbye to his grandmother’s body, and its artificial appearance deeply affects him. The funeral procession is followed by a somber ceremony.
Thomas arranges with his father’s broker, Gosch, to sell the family’s house on Meng Street. After a lengthy negotiation, they finally agree on a price. The family’s rival, Hermann Hagenström, buys the property, to Tony’s dismay. Despite vowing never to look at the old family home again, Tony finds herself unable to keep this promise and often breaks down in tears when passing by.
Thomas questions his worth and his life’s achievements. He feels trapped in a small-scale, cautious approach to business, unable to capitalize on the flourishing economic environment. Thomas’s aspirations in community affairs have also plateaued. He is respected in local politics but realizes he will never achieve the mayorship due to his merchant background and lack of formal education.
During a family dinner with Tony and Gerda, the conversation touches upon the imprisoned Hugo Weinschenk and the possibility of petitioning for his pardon. The evening is disrupted when Tony reads a newspaper article announcing the suicide of Ralf von Maiboom, due to financial troubles. Thomas, disengaged and distant, reacts mockingly to the news.
Despite his own disillusionment, Thomas holds onto the belief that Hanno, unlike himself, can achieve success and honor. He introduces Hanno to the business world, hoping to ignite a similar interest in him. However, Hanno, with his sensitive and artistic nature, does not share his father’s enthusiasm for these pursuits and responds with quiet resistance and lack of interest.
The family spends the summer at Travemünde, primarily for Hanno’s health. Although Hanno enjoys the seaside stay, his summer experiences leave him more sensitive and less prepared for the demands of life and school to which he dreads returning.
In 1873, Hugo Weinschenk is released from prison. Hugo hardly interacts with his Erika or the rest of the family and stays confined in his room. Eventually, he leaves for a supposed job in London, promising to send for his family later. Several days later, Hugo sends a letter explaining that he does not wish to bring his wife and child to London until he finds a suitable life. Afterwards, they never hear from him again. Tony tries to locate him to file for divorce on Erika’s behalf but to no avail.
Gerda develops a friendship with Lieutenant von Throta, who shares her passion for music. Thomas grapples with feelings of jealousy, inadequacy, and fear of public ridicule but feels unable to confront Gerda directly.
Thomas also faces a personal crisis, feeling his health and vitality waning. He contemplates death and seeks comfort in philosophy. Finally, Thomas decides to draft a will and assigns Hanno the responsibility of ensuring his privacy during this process.
Thomas and Christian take a seaside vacation to improve their health. When Tony visits, she and Thomas have a conversation that reflects Thomas’s weariness and mental exhaustion.
Thomas suffers from a severe toothache and leaves a senate session early to see a dentist. The dentist attempts to extract the tooth’s crown, but it breaks, leaving the roots impacted, which requires a more complicated procedure on another day. As he walks home, he suddenly feels nauseous and collapses on the street, falling face-down. His fall is so severe that a puddle of blood forms around his head, leaving him disheveled with his fur coat splattered with dirt and blood.
Tony rushes to see Thomas, who is lying unconscious at home. Gerda is visibly upset, unable to comprehend the tragic turn of events. Despite the efforts of doctors, it becomes clear that Thomas is nearing the end of his life. The family gathers around Thomas, struggling to come to terms with his impending death.
Thomas’s death becomes a topic of discussion in town. Despite skepticism about the cause of his death, the town focuses on sending lavish floral tributes to honor him. Thomas’s former youthful love, now the owner of a flower shop, brings flowers to the house and spends some time looking at Thomas’s body. The funeral is meticulously planned and executed with grandeur.
Following his brother’s death, Christian marries the actress Aline Puvogel and moves to Hamburg, living off his mother’s inheritance. His marriage and subsequent stay in a sanatorium due to worsening health are topics of concern and gossip in the town. The Buddenbrook estate, under Stephan Kistenmaker’s management, faces financial difficulties. The process of liquidating the firm, as per Thomas’s will, results in significant losses. Gerda decides to sell the grand family home and move to a smaller villa, downscaling the family’s lifestyle and status. In a significant change, the family fires Ida Jungmann, the family’s long-term governess, due to a conflict with Gerda.
Hanno struggles with the pressures of school, burdened by the fear that his uncompleted homework will be discovered. At school, he navigates various classes, feeling out of place and overwhelmed by the expectations and judgments of his teachers. Despite his musical talent, Hanno feels disconnected from his peers and disillusioned with his future. His friendship with Kai becomes closer and more intimate.
After a three-week travail, Hanno dies of typhoid fever.
After Hanno’s death, Gerda decides to leave Germany and return to Amsterdam. At a family gathering, Tony, Erika, Klothilde, and other relatives discuss Gerda’s departure, reflecting on the family’s past struggles and losses, particularly little Hanno’s recent death.
Mann structures the final sections of his novel around Buddenbrook family deaths, providing a literal and metaphorical picture of the ways The Decline of the Buddenbrooks has led to its inevitable end. In each part, Mann depicts the death of one family member, each one representative of a different generation, underscoring the theme of Family Members as Links in a Chain. Bethsy, Thomas, and Hanno die in quick succession, leading to the complete financial and social deterioration of the family. The physical and social decay is not just confined to their individuals lives but extends to their possessions and legacy as well. Most notably, the sale of the family home, a significant symbol of their heritage and status, to the Hagenströms, their long-time rivals, marks a critical moment in the denouement.
In portraying the immense pressure of societal expectations on the characters that culminates in death, Mann provides a critique of the ideals and traditions that created the Buddenbrook legacy in the first place. Despite his public success, Thomas remains constantly plagued throughout the novel by a sense of inadequacy and a fear of not living up to the family name. His efforts to maintain appearances and uphold the family’s prestige become an exhausting and ultimately futile endeavor. Thomas’s death following his climactic existential crisis suggests that his inability to break from a decaying family legacy led to his ultimate demise. Mann employs irony in the depiction of Thomas death by contrasting the absurd and grotesque nature of his accident with Thomas’s obsession with maintaining a fastidious appearance throughout the novel. In writing an absurd and humiliating death for Thomas, Mann provides an ironic commentary on the inevitability of death, which can’t be controlled and does not conform to prescribed and decorous standards.
Mann positions Thomas’s physical decline as equivalent to the decline of the control he attempts to exercise over the world around him. As his own physical and psychological health dwindles, Thomas himself recognizes that such a tight grip on success cannot last forever:
Happiness and success are inside us. We have to reach deep and hold tight. And the moment something begins to subside, to relax, to grow weary, then everything around us is turned loose, resists us, rebels, moves beyond our influence. And then it’s just one thing after another, one setback after another, and you're finished. The last few days I've been thinking about a Turkish proverb I read somewhere: ‘When the house is finished, death follows.’ Now, it doesn’t have to be death exactly. But retreat, decline, the beginning of the end (422).
The metaphorical language used by Thomas—reaching deep and holding tight—suggests that success and happiness require constant effort and vigilance, which ultimately no one can sustain. His observation that a relaxation or weakening of one’s grip on these internal states can lead to a cascade of external problems illustrates the delicate balance between internal resilience and external circumstances. Thomas’s reference to a Turkish proverb extends this idea further, suggesting that the completion of goals or the attainment of a certain level of comfort and stability often signals the onset of decline or a significant change. Mann uses Thomas’s own words to critique the Buddenbrooks’ pursuit of success, reputation, wealth, social influence, and political power in the face of a changing world.
Thomas’s insight into the cyclical nature of life and success hints at an existential understanding that our endeavors, no matter how fruitful, are ultimately transient and subject to change. This perspective underscores the theme of impermanence and the inevitability of decline, both personally and within the larger context of Mann’s narrative.
Similarly, the death of Hanno highlights the crushing weight of expectations placed on the younger generation. Hanno’s sensitivity and artistic inclinations are at odds with the commercial and social ambitions his family has for him, leading to a profound sense of alienation and despair, which are then represented in the physical reality of his death.
By Thomas Mann