The Magic Mountain

The Magic Mountain

by

Thomas Mann

The Magic Mountain: Part 7, Chapter 4: Mynheer Peeperkorn (Continued) Summary & Analysis

Summary
Analysis
Mynheer Peeperkorn stays at the Berghof into the spring. The longer Hans knows him, the more his two former mentors’ influence fades. In time, he starts to refer to Settembrini and Naphta as “little chatterboxes,” which is what Peeperkorn calls them. Hans makes it a point not to judge Peeperkorn unfairly simply because he’s Clavdia’s “traveling companion.” After all, Hans only borrowed a pencil from Clavdia at a holiday party—that’s all they are to each other.
Peeperkorn offers nothing of intellectual worth to Hans, and yet Hans eagerly lets Peeperkorn replace Settembrini and Naphta as his go-to mentor, nevertheless. In fact, he’s so determined to endear himself to Peeperkorn that he tries (unconvincingly) to minimize his own feelings toward Clavdia. Hans’s poor judgment reaffirms his youth and naivety as well as his increasing push toward self-destruction.
Themes
Coming of Age  Theme Icon
Death and Illness  Theme Icon
East vs. West  Theme Icon
The day after Peeperkorn’s grand party, all the residents who attended feel quite ill, Peeperkorn included. Hans goes to visit Peeperkorn in his room, which is separated from Clavdia’s by a parlor, and he notices that Peeperkorn’s room is much more elaborately decorated than most rooms at the sanatorium. He finds Peeperkorn lying in bed, wearing a long wool shirt with an open collar. Strikingly, the clothing makes him look less bourgeois and more working class. Peeperkorn, in his characteristically rambling manner, apologizes for overdoing it last night.
Peeperkorn’s well-decorated room reflects his decadence. His plain wool shirt, set in contrast to the elaborate décor of his room, might symbolize the empty interior that his bold, obnoxious exterior conceals. 
Themes
East vs. West  Theme Icon
Peeperkorn offers Hans some of the leftover sparkling wine—it’s the best thing for a swift recovery. Hans accepts, and they clink glasses. Clavdia appears and urges Peeperkorn to take some brown, syrupy medicine on his counter. Peeperkorn offers Hans some, too, explaining that it revitalizes the system. Hans accepts and soon finds that the cordial, “china-bark,” also has quite the intoxicating effect. Peeperkorn talks of “medicines and poisons” and of love potions that “primitive peoples” on the islands of New Guinea would make from various barks, leaves, and herbs.
Peeperkorn’s overindulgence has left him incapacitated, yet he continues to indulge, nonetheless. This illustrates his self-destructive and irrational personality. Hans’s willingness to indulge alongside Peeperkorn indicates his interest in such self-destructive behavior—he finds it liberating, just as he found Herr Albin’s antagonistic behavior and Clavdia’s poor manners liberating. The detail that the cordial Peeperkorn offers Hans is made of “china-bark” signals Peeperkorn’s association with Eastern culture.  
Themes
Death and Illness  Theme Icon
East vs. West  Theme Icon
Abstract Ideals vs. Lived Experience  Theme Icon
From that point forward, Hans sits and listens to Peeperkorn talk. Sometimes, Wehsal and Ferge accompany him to Peeperkorn’s room, as do Settembrini and Naphta. Hans is glad to introduce everyone to Peeperkorn, and to Clavdia, as well. As Hans expected, his friends all get used to each other, though there’s a lot of lingering tension among them. But, perhaps due to his “life-affirming […] nature, which allowed him to find everything ‘worth listening to,’” Hans manages to keep the group together. Hans remains foolishly in love with Clavdia, though this love is tempered by a caution of “what his devotion was worth […] to the slinking patient with the enchanting ‘Tartar slits[.]’” 
Hans seems to accept Peeperkorn as his latest unofficial mentor, carrying out the ritual by which he accepted his earlier mentors, admiring him on his own at first and then inviting his peers to listen to them speak after that. The narrator’s remark about Hans “find[ing] everything ‘worth listening to’” reads as ironic: nothing that Peeperkorn says is worth listening to, yet Hans seems unaware of this.
Themes
Coming of Age  Theme Icon
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In his bedroom, Mynheer Peeperkorn doesn’t seem quite as grand as he does in an open space. He seems smaller and more “compressed,” though he’s still a great deal larger than Naphta or Settembrini. One day, Settembrini confronts Hans about his apparent worship of Peeperkorn, who is “just a stupid old man.” Settembrini could understand if Hans were just using Peeperkorn to get close to Clavdia, but it’s clear that Hans is far more interested in Peeperkorn. Settembrini mockingly mimics Peeperkorn’s exaggerated, “cultured” gestures. Hans merely laughs and replies that Peeperkorn may be stupid, but “cleverness” is a kind of stupidity, too. Settembrini tells Hans that what he’s most concerned about is Hans’s fixation with Peeperkorn’s “personality.” He thinks it’s a grave mistake to “turn[] personality into an enigma,” which quickly turns into “idol-worship.” Settembrini lectures Hans a bit, but they part on mostly good terms.
That Peeperkorn’s size changes based on his surroundings reveals a key limitation of his bold personality: he can only flourish when he has a captive audience to listen to him and approve of his incoherent ramblings. But Hans seems not to notice this, as his interest in Peeperkorn, whom Settembrini correctly describes as “just a stupid old man,” makes clear. Hans defends Peeperkorn’s irrationality even when doing so requires Hans himself to resort to irrationality, paradoxically reasoning that Peeperkorn’s stupidity is no more stupid than “cleverness.” Hans, it seems, is no longer trying to minimize or conceal his irrational or self-destructive behavior.
Themes
Coming of Age  Theme Icon
East vs. West  Theme Icon
Abstract Ideals vs. Lived Experience  Theme Icon
Meanwhile, Naphta and Settembrini continue to engage in impassioned intellectual debates. In one, Settembrini condemns the Church as antidemocratic and disrespecting of human individuality. Naphta retorts that canon law (unlike earthly law) requires of members “orthodoxy and membership in the ecclesiastical community.” One can’t say the same of Roman law, or Germanic law. The argument continues as all their arguments do, with either side debating the superior nobility of their position and the inferiority of the other’s.
In this debate, Settembrini and Naphta continue to debate beliefs central to their characters. This passage reinforces Settembrini as an impassioned supporter of democracy and personal liberty—forces geared toward improving the quality of life of humans on earth. Naphta, meanwhile, argues that earthly institutions of power are inferior to spiritual institutions of power. His stance elevates spiritual law at the expense of laws designed to improve  humankind’s quality of life on earth. In this way, then, he demonstrates a disregard for life. Just as Hans has tried to find honor and dignity in human suffering, Naphta believes that the promise of eternal salvation validates any earthly form of suffering. In fact, it justifies the glorification of suffering. 
Themes
Death and Illness  Theme Icon
East vs. West  Theme Icon
The narrator notes how Peeperkorn’s presence has a “neutraliz[ing]” effect on Settembrini and Naphta’s intellectualism. While Naphta and Settembrini flourish when arguing about abstract, theoretical concepts, they wither when forced to confront “earthy, practical affairs”—the practical realm is all Peeperkorn’s. On one occasion, he brushes aside their talk of “asceticism” and “indulgence” and enthusiastically redirects their focus upward, toward an eagle he has just spotted in the sky.
This passage contrasts Peeperkorn with Settembrini and Naphta. Peeperkorn is only concerned with the external, sensual world and has no interest in abstract concepts or intellectual debate. Settembrini and Naphta, on the other and, cannot translate their abstract ideals into meaningful action. 
Themes
East vs. West  Theme Icon
Abstract Ideals vs. Lived Experience  Theme Icon
One night, the lobby has mostly emptied, with most residents having retired to their rooms to take their final rest cure. But Clavdia has lingered behind in the reading room, and so Hans lingers in the lobby. She approaches him from behind wearing a dark silk gown. She explains that the concierge is gone and asks Hans if he’ll lend her a postage stamp, but he doesn’t have any. In reply, she sits down next to him and asks if she can at least have a cigarette. Hans offers her one, explaining that he always has them. He’s not a passionate man, he admits, but he does allow for some “detached passions,” like smoking. Clavdia says she wouldn’t expect Hans to be passionate—the Germans, after all, believe that life is about “experience,” whereas passion is about “forget[ting] oneself.” She thinks this perspective makes Hans “the enemy of humankind.”
Hans’s remark about allowing himself some “detached passions” seems to be his attempt to show Clavdia that he can give in to Peeperkorn, yet Clavdia correctly identifies Hans’s practice of self-indulgence as carefully calculated and moderated—to be passionate is to “experience” things in the moment and to “forget oneself.” Hans might be lazy and directionless, but he’s consistently too stuck inside his own head, torn between his impulse to be passionate and irrational and the rigid commitment to honorable social norms he grew up with. When Clavdia calls Hans’s German sensibilities “the enemy of humankind,” she is suggesting that suppressing one’s passions negatively affects one’s quality of life. 
Themes
Coming of Age  Theme Icon
Death and Illness  Theme Icon
East vs. West  Theme Icon
Abstract Ideals vs. Lived Experience  Theme Icon
Clavdia’s observation upsets Hans, who gets up to leave. She begs him to stay, mockingly lamenting not being able to rely on an unpassionate man such as Hans. Hans and Clavdia have a strained conversation. Clavdia criticizes Hans for sticking around the Berghof and waiting for her. Hans defends his choice, explaining that he’s a civilian, unlike Joachim, and that it would be an act of desert[ion]” to return to the flatlands prematurely. Hans admits that he now feels confident that “the love of death leads to the love of life and humanity.” Clavdia listens to his philosophical musings and mockingly deems him a “genius.”
The irony of Hans’s choice to act passionately and irrationally, remaining at the Berghof and awaiting Clavdia’s return, is that his behavior has in fact denied him the chance to fully experience life. His passion is inactive and theoretical, based not on reality but on the false, hopeful belief that Clavdia might one day return his affections. Hans’s conclusion that loving death teaches one to love life is similarly flimsy. If his theory were true—if seeing so much death and suffering instilled in him a new appreciation for life—would he not leave the Berghof immediately and vow to take full advantage of all the time he has left on earth? Instead, he stays at the Berghof, wallowing in self-pity over a seemingly nonexistent illness and justifying his actions with half-baked philosophical musings.  
Themes
Coming of Age  Theme Icon
Death and Illness  Theme Icon
East vs. West  Theme Icon
Abstract Ideals vs. Lived Experience  Theme Icon
Hans talks about how difficult it has been to see Clavdia in the company of Peeperkorn. He tells Clavdia he can understand why she loves a “personality” like Peeperkorn and asks her to confirm that this is so—that she loves him. Clavdia playfully refuses to answer, but then she admits that Peeperkorn’s love for her is what makes her “proud and grateful and devoted to him.” She thinks this is a human thing, this not being able “to disregard his feelings[.]” She adds that there is something “fearful” about his love for her. She thinks it's an innately feminine trait to “risk being demeaned for the sake of a man,” and Hans agrees that there’s a sort of nobility in “being demeaned.”
It’s unclear whether Clavdia genuinely loves Peeperkorn. What attracts her to him most is his love for her—the way its “fearful” intensity compels her to submit to him. Clavdia describes her submissiveness as a feminine trait. Given that the book positions Clavdia as a stand-in for Eastern sensibilities in a general sense, then, the power dynamics at play in her and Peeperkorn’s relationship symbolizes what the novel presents as the submissive, weak (in the book’s reductive and overgeneralized view of femininity) traits of antidemocratic Eastern nations.
Themes
East vs. West  Theme Icon
Clavdia admits that she finds Hans’s “detachment” frustrating, and thus in contrast to Peeperkorn’s effusive passion. Even so, she’s glad that Hans has been respectful toward Peeperkorn rather than hating him for being with Clavdia. At this point, Clavdia turns to Hans, looks him in the eye, and asks if they might begin a friendship. She’s a bit wary of giving all her emotions to Peeperkorn. She would “love to have some good person on [her] side,” she explains, and perhaps this is why she returned to the Berghof. Hans starts to protest, but then Clavdia moves in and kisses him on the mouth, with the great emotion of “one of those Russian kisses.” The narrator can’t help but compare this kiss to one of Krokowski’s lectures about love, in which it’s never clear whether he’s talking about spiritual love or earthly, lustful love.
Clavdia’s description of Hans as “detach[ed]” is on point. Though he has made it his goal to find personal freedom by exiting the constraints of ordinary society and rejecting social norms, he has not found any real pursuit to replace his former participation in society, and as a result he has become lost and aimless, neither acting solely in pursuit of pleasure nor for the betterment of society. Clavdia’s proposal that she and Hans be friends—followed by a kiss that sends Hans mixed messages about her real intentions—further cements Hans’s existence in his confused, aimless state of limbo. He can neither act on his passion for Clavdia nor abandon that passion altogether.
Themes
East vs. West  Theme Icon
Abstract Ideals vs. Lived Experience  Theme Icon
Sometime later, Hans pays Peeperkorn a visit at his bedside, effusively proclaiming what an honor it is that Peeperkorn allows Hans to be in his company. They talk about their trip to town yesterday and about the lavish food they ate. Settembrini was there too, and Peeperkorn notes Settembrini and Clavdia’s mutual disdain for each other. Hans changes the subject to talk about love, musing about how naturally a woman, when asked if she loves a man, speaks of the man in question’s love for her. He thinks it would be ludicrous to imagine such an exchange if the genders were reversed. Peeperkorn agrees.
Hans continues to flatter Peeperkorn, doing all he can to boost the man’s ego. He assumes a submissive role not unlike Clavdia’s. At the same time, Hans’s musings about love, which are clearly inspired by his earlier conversation with Clavdia, seem geared toward agitating Peeperkorn—Hans seems to want Peeperkorn to know (or at least suspect) that he and Clavdia are confidants, perhaps hoping to make Peeperkorn jealous. Hans’s ambivalence toward Peeperkorn—he can’t seem to decide whether he wants the man to respect or feel threatened by him—reflects his youth. He remains just as confused about what he wants and what he believes in as ever before. In choosing to stay at the Berghof and becoming lost to the world, he has become lost to himself, as well.
Themes
Coming of Age  Theme Icon
Death and Illness  Theme Icon
East vs. West  Theme Icon
Abstract Ideals vs. Lived Experience  Theme Icon
Suddenly, Peeperkorn turns to Hans and asks if Hans loves Clavdia. The question flusters Hans, but Peeperkorn remains calm. He acknowledges that Hans has a history with Clavdia. He also knows that while Clavdia is a young, charming woman, he himself is merely a sick, old man. Hans tries to respond honestly but respectfully. Peeperkorn grows increasingly upset as he wonders whether Clavdia returns Hans’s love, suspecting that Clavdia has “followed her feelings” back to the Berghof. He admits that he knew the truth about Hans and Clavdia’s history the moment Hans very purposefully chose not to kiss Clavdia on the brow the night of Peeperkorn’s party.
Hans’s flustered response to Peeperkorn’s accusation shows just how haphazard and confused his interactions with Peeperkorn have been. It was Hans who brought up the subject of love, specifically alluding to the type of love Clavdia and Peeperkorn’s relationship has embodied. And it was Hans who very strangely and obviously refused to kiss Clavdia in front of Peeperkorn after the party. Given this, it would seem that Hans has wanted, if only subconsciously, for Peeperkorn to sense Hans’s feelings for Clavdia. Yet when Peeperkorn does so, Hans reacts as though he had no expectation or hope that it would happen. Hans continues to act irrationally and self-destructively, and this emphasizes his continued downward spiral.
Themes
East vs. West  Theme Icon
Abstract Ideals vs. Lived Experience  Theme Icon
Hans backtracks and asks Peeperkorn if he may take a moment to complain about his “life and fate.” Peeperkorn agrees and gestures for Hans to speak. Hans begins, explaining that he’s been at the Berghof for years now. He describes the onset of his gradual fixation with Clavdia, and of his eternal refusal to address her with formal pronouns. He also explains how, despite Settembrini’s warnings, he became obsessed with “irrationality,” all out of his love for Clavdia. When Clavdia left, Hans remained at the Berghof, waiting for her to return. He waited so long, in fact, that he no longer writes home, and “the flatlands is entirely lost to [him] now, and in its eyes [he is] as good as dead.” 
In Hans’s account, his passion—his obsession with “irrationality,” as he puts it—has not let to his personal freedom, as he initially hoped it would. It has not been a pleasurable experience that has improved his quality of life. Instead, it has figuratively lead to his death: consumed by unrequited passion, he becomes detached from reality, “the flatlands is entirely lost to [him] now, and in its eyes [he is] as good as dead.” What Hans fails to acknowledge, though, is that it’s not too late to resurrect himself, so to speak: he is free to leave the Berghof and re-enter society, just as he always has been.  
Themes
Death and Illness  Theme Icon
East vs. West  Theme Icon
Abstract Ideals vs. Lived Experience  Theme Icon
Hans finishes his speech. Peeperkorn looks at Hans meaningfully and expresses regret for the pain that his and Clavdia’s arrival has caused Hans. Then he asks Hans to recall the moment, early in their acquaintanceship, when he told Hans that he wasn’t yet ready to use informal pronouns with each other. Now, Peeperkorn declares, that time has passed: they will address each other informally, as brothers. Hans is beyond elated and tells Peeperkorn it’s an honor. They drink together, and then Peeperkorn urges Hans to get going—“our beloved” may return soon, and it would probably be a bit awkward for them to all be together just now. 
Peeperkorn, in declaring that he and Hans will now address each other with informal pronouns, as brothers, invites Hans to remain lost to the world. When Peeperkorn refers to Clavdia as “our beloved,” he acknowledges their passion for her as the source of their mutual entrapment. Hans, in excitedly accepting Peeperkorn’s offer, volunteers to stay at the Berghof and to remain lost to the world, wallowing in self-pity over his unrequited passion for Clavdia. Hans’s decision is self-destructive and irrational. Though he acknowledges how much his passion for Clavdia has cost him, he fails to act on that knowledge, and this underscores his failure to learn from his mistakes and translate his abstract thoughts into real actions.
Themes
East vs. West  Theme Icon
Abstract Ideals vs. Lived Experience  Theme Icon