Themes
Key
LitCharts assigns a color and icon to each theme in The Magic Mountain, which you can use to track the themes throughout the work.
Time
Coming of Age
Death and Illness
East vs. West
Abstract Ideals vs. Lived Experience
Summary
Analysis
As the years go on, a “ghost” starts to “walk the Berghof,” one Hans believes to be a mutation of the aforementioned, demonic “Great Stupor.” Both demons have always existed within the Berghof, but now the new demon begins to spread, infecting all the Berghof’s residents. Hans is horrified when he realizes that, as soon as “he let[s] himself go the least little bit,” he, too, is infected. The narrator describes the observable symptoms of this infection as a testy, restless, angry atmosphere all throughout the sanatorium. People get into fights over the smallest things, and some even turn physical.
As time passes, the Berghof residents grow more restless, and their former “Great Stupor” morphs into behavior that is more violent and reactive. In one reading of the novel, the Berghof—an international sanatorium—symbolizes Europe in the years leading up to World War I. The violent restlessness that spreads among the sanatorium’s residents, then, symbolizes the mounting political tensions throughout Europe as global conflict became increasingly inevitable. Hans has been at the Berghof for seven years now, and since he arrived in 1907, that means that war will be declared within the year.
Themes
The infection that has spread throughout the sanatorium has affected Settembrini, too, dulling his characteristically sharp intellect and leaving him unable to come up with any of his usual cutting responses. Naphta, too, is under the weather, though his illness is more physical than Settembrini’s. He spends most days in bed, though he celebrates his body’s weakened state, an attitude that fuels his and Settembrini’s usual arguments.
It speaks to the intensity of this “infection” that it has affected even Settembrini and Naphta, the Berghof’s most vitalized patients. In a reading of the novel as an allegory for Europe in the leadup to World War I, Settembrini’s diminished state could symbolize the initial decision of Italy, which had been a member of the Triple Alliance (along with Germany and Austria-Hungary), to remain neutral after war was declared.
Themes
One February afternoon, Hans, Ferge, Wehsal, Settembrini, and Naphta meet up and take a sleigh ride to Monstein. It’s a beautiful, snowy day, and they see the beautiful Zügenstrasse appear before them as they near their final destination. In Monstein, they stop at an inn, or “Kurhaus,” before continuing on their way. Immediately, the Stulsergrat (a mountain in the Swiss Alps) comes into view. They see a high mountain peak materialize before them, and to Hans it appears almost “supernatural, like something from Valhalla, distant, sacred, and inaccessible.”
Hans’s reference to Valhalla (in Norse mythology, Valhalla is the paradise where those killed in combat go after their deaths) could suggest his growing disillusionment. He has spent years trying to learn, grow, and achieve self-awareness, yet he has mostly failed on all accounts. Now, he seems to sense the inevitability of war, even if his stay at the Berghof has kept him ignorant of the developing political situation in the flatlands). He seems to recognize, if only subconsciously, that he is running out of time; in short, the enlightenment and wellness he hoped to achieve at the Berghof has become “distant” and “inaccessible.”
Themes
Later, everyone returns to the Kurhaus for a snack and some coffee. Before long, Naphta starts lecturing about freedom, which he claims comes from Romanticism rather than Enlightenment thinking. What’s more, he claims, the desire for freedom is directly to blame for the rise in militant nationalism the continent is presently experiencing. In contrast, the freedom of mysticism and the Church protect individuals from “absolute monarchy.” At this point, Settembrini, frustrated, interjects to tell Naphta he’s tired of him corrupting the impressionable youths with “dubious ideas.” Their argument grows heated, and Hans and the others nervously look on in silence. The argument reaches its peak when Settembrini declares Naphta’s spreading of dangerous information “infamous” and says he needs to be “punished.” Naphta, irate, challenges Settembrini to a duel before storming off.
Settembrini and Naphta argue the same broader points they’ve been defending or attacking over the entirety of their acquaintanceship. But this time, Settembrini insults Naphta with the accusation that he should be "punished” for corrupting the youth with “dubious ideas.” Naphta’s response to challenge Settembrini to a duel further underscores how tense and volatile the atmosphere of the Berghof has become lately. Settembrini and Naphta have argued nonstop over the course of their knowing each other, yet it’s only lately that their arguments have become physical. Now, with the duel looming before them, it seems that their arguments might escalate to the point of death.
Themes
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After Naphta has left, Wehsal asks Settembrini if he actually plans to accept Naphta’s challenge. Settembrini, though he does not theoretically approve of dueling, says that the “practical” circumstances require him to follow through with it. On the ride home to the Berghof, Hans feels dizzy and ill at ease. He gets even more upset when it’s revealed that Naphta wants to duel with pistols rather than fists. And, “as the injured party in an affair of honor,” it’s up to him to decide which weapon they use, so Settembrini has no say in the matter. Alone with Settembrini, Ferge, and Wehsal, Hans laments the pointlessness of the duel: it's not even over an “actual insult.” Settembrini disagrees, though, and tells Hans that intellectual disagreements really do matter and “become personal.” And, what’s more, a person who can’t defend their ideals with their body isn’t worthy of those ideals at all.
The duel will be a critical moment for Settembrini and Naphta, giving them the opportunity to defend in real life the principles they argue over in their intellectual debates. Naphta’s seriousness comes through in his insistence on dueling with pistols rather than fists, which raises the distinct possibility that either he or Settembrini will pay for their deeply held principles with their life. Hans’s distinction between an “actual insult” and the insult Settembrini and Naphta are fighting over reveals his wavering, tenuous commitment to his own ideals. To Hans, there’s a line between one’s theoretical ideals and how one conducts oneself in daily life. To Settembrini, on the other hand, there is no distinction.
Themes
In the days leading up to the duel, Naphta informs Settembrini of the rules of the duel: the men will be five paces apart and will be allotted three shots. Settembrini accepts these rules, but Wehsal—his second—is horrified. Because nobody involved actually owns a pistol, they borrow them from Herr Albin, who also shows them how to use them. Hans selects the duel’s location: the beautiful meadow where he “‘play[s] king.’”
Wehsal is horrified because he, unlike Settembrini, isn’t committed to Settembrini’s ideals to the degree that he is willing to die for them. The fact that nobody involved in the duel owns a pistol highlights how high tensions have risen at the Berghof: under normal circumstances, none of would be violent, murderous people. Now, they behave as irrationally and haphazardly as Herr Albin. Finally, it’s symbolic that Hans chooses the meadow where he “‘play[s] king’” as the duel’s location. In the meadow, Hans mused over abstract ideals that he could never translate into lived experience. In suggesting that the duel take place in this place, then, he is conveying his hope that the duel will not result in any real, physical consequences—that both men will escape alive.
Themes
The night before the duel, Hans anxiously realizes it’s probably a good idea to have a doctor onsite. It’s unthinkable to ask Rhadamanthus (Behrens) to be there, since the director of a medical facility is unlikely to assist in illegal activities. Ultimately, though, Hans’s anxieties are pointless, as Naphta declares that he wants no doctor present.
Hans tries to interfere in the duel, believing that having a doctor there might minimize the chance of anyone dying. But Naphta’s commitment to his ideals is so fierce and unhinged that he finds the idea incomprehensible. In his mind, minimizing the risk of death defeats the purpose of the duel.
Themes
Finally, the morning of the duel arrives. Hans hardly slept the night before and feels awful. His teeth chatter in the cold air as he, Ferge, Wehsal, and Settembrini make their way to the meadow. Suddenly, Settembrini stops, places his hand on Hans’s, and tells Hans that he will offer himself to be shot before killing Naphta: this is how he will fulfill his duty to honor.
Settembrini’s plan to offer himself to Naphta allows him to fulfill his duty to participate in the duel while also honoring his commitment to pacifism.
Themes
Finally, they arrive at the meadow, where Naphta is already waiting. Naphta gets straight to business and asks for the weapons to be presented. Then Ferge draws the boundaries in the snow, and Settembrini and Naphta take their places. Naphta commands Settembrini to come forward and shoot. After taking his final step, Settembrini raises his pistol directly upward and fires. Naphta is furious that Settembrini has shot into the air. Settembrini calmly says he’ll shoot where he wants. “Coward!” Naphta screams at Settembrini—before turning the pistol toward his own head and pulling the trigger.
Naphta’s choice to shoot himself honors his principles in the same way that Settembrini’s (now foiled) plan to offer himself to Naphta honored Settembrini’s commitment to pacifism. In shooting himself, Naphta destroys the physical body, which he has repeatedly degraded throughout his debates with Settembrini. His actions also demonstrate the self-destructive nature of irrationality, one of his defining characteristics.
Themes
The gunshot echoes through the mountains. Everyone rushes toward Naphta’s body. Settembrini gets there first and cries out, “‘Che cosa fai per l’amor di Dio!’”
Settembrini’s exclamation roughly translates to “What do you do for the love of God!” He’s referencing the Bible here, specifically the expression “Love of God,” which originates in the Deuteronomy, after the Israelites have received the Ten Commandments and are called to love God with all their heart, soul, and strength. Naphta has made good on this calling, but for what? Settembrini seems to ask.
Themes
