Category: Culture

  • Visit to Villa Kรฉrylos in Beaulieu-sur-Mรจr

    A visit to Villa Kรฉrylos on the French Riviera is like traveling back in time to the world of the ancient Greeksโ€”but through the eyes of two passionate scholars of the early 20th century.

    Villa Kรฉrylos -Beaulieu - Cรดte d'Azur 11

    The visitโ€”atmosphere and impressions

    Upon entering the villa, you are greeted by a light-filled courtyard (peristyle) whose marble columns and water basins are immediately reminiscent of the architecture of classical Greek residences. The rooms are richly decorated with frescoes, mosaics, ornate furniture, and everyday objectsโ€”many of which were specially crafted based on ancient models, giving visitors the feeling of being in a living archaeology project.

    From the open balcony, the view extends across the Mediterranean Sea to the Saint-Jean-Cap-Ferrat peninsulaโ€”a deliberate part of the concept: as in the homes of the ancient Greeks, the sea should always be present.

    The owner: Thรฉodore Reinach (1860โ€“1928)

    Thรฉodore Reinach was a French scholar, historian, archaeologist, and politician.

    He came from the famous Reinach family of bankers and artists, which belonged to France’s intellectual elite.

    Reinach was deeply in love with Greek culture and philology. For him, Villa Kรฉrylos was a life projectโ€”not as a replica, but as a creative reconstruction of a luxurious residence from the Greek Classical period (2ndโ€“1st century BC).

    He used the villa both as a vacation home and as a place of study and representation.

    Villa Kรฉrylos -Beaulieu - Cรดte d'Azur 1

    The architect: Emmanuel Pontremoli (1865โ€“1956)

    The architect Emmanuel Pontremoli was a graduate of the ร‰cole des Beaux-Arts and later its director. He won the prestigious Prix de Rome in 1890 and spent years in Greece and the eastern Mediterranean.

    These travels made him a specialist in Hellenistic architecture, which made him the ideal partner for Reinach’s vision. Pontremoli’s approach was extraordinary: he used modern building materials (concrete, iron), but designed each room according to ancient models, and integrated artisans, sculptors, and furniture designers who created new works specifically for the house based on archaeological models.

    Historical background โ€“ Construction of the villa

    • Construction period: 1902โ€“1908
    • Style: Hellenistic, inspired by the houses on Delos
    • Goal: An โ€œideal Greek houseโ€ โ€“ not a copy, but an authentic reinterpretation
    • Name: Kรฉrylos means โ€œtern,โ€ a symbol of good luck in Greek mythology

    After Reinach’s death in 1928, his family bequeathed the villa to the French Institute, which still manages it today.

    Villa Kรฉrelios Cรดte d'Azur Beaulieu

    Why it’s worth a visit

    A tour of Villa Kรฉrylos allows visitors to:

    • immerse themselves in the ancient world,
    • understand the interplay between science, art, and architecture around 1900,
    • and gain insight into the visions of two extraordinary personalities:
      a Hellenistic scholar and an architect influenced by Orientalism.

    You leave the villa with the impression that you have visited not so much a museum as an ideal Greek house that โ€“ for a moment โ€“ is filled with life again.

    Villa Kรฉrylos -Beaulieu - Cรดte d'Azur 4

    A day at Villa Kรฉrylos

    The morning over Beaulieu-sur-Mer is still young as you walk along the narrow coastal road. The sea glistens in a milky blue, and the first rays of sunshine cast a silvery shimmer on the water’s surface. In the distance, you can see the simple, light silhouette of Villa Kรฉrylos โ€“ a house that looks as if it has been blown straight from the spirit of antiquity to the coast of the Cรดte d’Azur.

    Even the path leading there has something solemn about it. The bay lies calm, as if holding its breath, as you approach the entrance portal. As you cross the threshold, time suddenly seems to slow down.

    In the first courtyard, a feeling of clarity envelops you. The sky above you is like a ceiling painting of pure color, and in the center murmurs a small water basinโ€”the heartbeat of the house. The marble columns cast long shadows that fall across the antique-style mosaics. You feel the noise of the world quietly closing behind you and something else beginning: a silent conversation between you and the spirit of the past.

    You wander through the rooms and notice the care that Thรฉodore Reinach and Emmanuel Pontremoli have lavished on every detail. The Andron โ€“ once a place for conversations and banquets โ€“ welcomes you with cool walls decorated with mythological scenes. You imagine Reinach receiving guests here, scholars and artists immersed in passionate discussions about Greece, while outside the waves crash against the rocks.

    In the bedroom, your gaze lingers on a golden border that shimmers in the sunlight. You feel as if this is less a room than a thought, artfully materialized. The bed is designed according to ancient models โ€“ simple yet sublime. You wonder if Reinach ever felt here that he was living in two worlds at once: the modern Riviera and ancient Greece.

    Bibliothek Villa Kรฉrilos

    The library smells of old wood and a hint of the sea. The shelvesโ€”delicately craftedโ€”stand as silent witnesses to his studies. Perhaps it was here that he immersed himself in his books while Pontremoli further refined the lines and proportions of the villa in his mind. Two men, united by a vision that came to fruition in these rooms: the dream of a house that does not copy the past, but embodies it.

    When you finally reach the balcony, the view opens up to a Mediterranean panorama that seems almost unreal in its beauty. The sea lies like a calm cloth before you, and on the Saint-Jean-Cap-Ferrat peninsula, the villas glitter like scattered gems. A gentle breeze brushes your cheek, carrying the scent of salt and pine trees. You lean against the railing, and for a moment, the boundary between now and then seems to blur.

    Perhaps this is the moment when you truly understand the villa: it is not a museum, but a conversationโ€”between cultures, centuries, people. An ideal built with modern materials and an antique soul. A place that carries the longing not only to preserve beauty, but to live it.

    When you leave the villa later and look back once more, it seems to float between the rocks and the sea. Elegant, timeless, a little mysterious. And you know that a part of you remains there, somewhere between the marble columns and the gentle splashing of the fountain, where antiquity came back to life for a moment.

  • Excerpt from โ€œGerman Exiles on the Cรดte dโ€™Azurโ€

    A journey through the 1930s by Klaus Kampe

    HISTORICAL CONTEXT AND EXILE IN SOUTHERN FRANCE

    When the National Socialists seized power in Germany in January 1933, a period of persecution and loss began for many writers, artists, and intellectuals. Theaters were closed, editorial offices purged, books burned. Those who remained risked being banned from their professions, imprisonment, or worse. Those who left had to find a new world. Countless Germans set out on their journey โ€“ with suitcases full of manuscripts, sketches, or simply hope.

    The south of France, the Cรดte d’Azur, became a lifeline for many of them. The light, the vastness of the sea, the olive groves, and pine-covered hills gave the refugees a sense of freedom. The region was also convenient in practical terms: the cost of living was lower than in Paris, and Marseille offered the opportunity to travel further afield if the situation became uncertain. Artists and writers had already discovered the coast, and so in the 1930s it seemed like an old acquaintance that was now showing a new face โ€“ that of exile.

    During these years, the great names of German culture gathered here: Thomas Mann wrote in the guesthouses along the coast, while his brother Heinrich lived with Nelly Krรถger in Nice. Lion Feuchtwanger created an intellectual hub in his villa in Sanary-sur-Mer, frequented by Franz Werfel, Alma Mahler-Werfel, and many others. Bertolt Brecht wandered restlessly through the south of France, always searching for a place where work and security coincided. Painters such as Walter Bondy and writers such as Annette Kolb further shaped the atmosphere.

    Two places in particular became symbols of this exile: Nice, with its cosmopolitan vibrancy and boulevards where languages and cultures mingled; and Sanary-sur-Mer, a small fishing village whose harbor became the stage for a world in upheaval. There, between simple fishing boats and the facades of white houses, a close-knit community of exiles emerged, trying to preserve their language, their art, and their hope in the shadow of the looming dictatorship.

    Thus, on the Cรดte d’Azur, the beauty of the landscape was combined with the urgency of survivalโ€”leaving traces that are still visible today.


    TABLE OF CONTENTS

    Introduction

    Varian Fry โ€“ From Berlin to Marseille

    Historical Context and Exile in Southern France

    Exiles in Nice โ€“ The City of Refuge

    Sanary-sur-Mer โ€“ The German Village

    Famous Personalities in Exile

    The Portraits โ€“ Faces of a Lost World

    Marta and Lion Feuchtwanger

    Meeting at the Cafรฉ du Lyon

    Max Colpet

    Thomas Mann and the Art of Exile Salons

    Voices in Exile

    Art, Literature, and the Struggle for Freedom of Speech

    Encounters and Communities

    Threats, Internment, and Escape

    Places of Residence Today – Discovering Historical Sites

    Comparison of Historical Photographs

    Links to Photos and Places

    Image Sources

    Epilogue

    Appendix


    in german:

    Abdruck aus “Deutsche Exilanten an der Cรดte d’Azur”

    Eine Reise durch die 1930er von Klaus Kampe

    HISTORISCHER KONTEXT UND EXIL IN SรœDFRANKREICH

    Als im Januar 1933 die Nationalsozialisten in Deutschland die Macht รผbernahmen, begann fรผr viele Schriftsteller, Kรผnstler und Intellektuelle eine Zeit der Verfolgung und des Verlustes. Bรผhnen wurden geschlossen, Redaktionen gesรคubert, Bรผcher verbrannt. Wer blieb, riskierte Berufsverbot, Haft oder Schlimmeres. Wer ging, musste sich eine neue Welt suchen. So setzten sich unzรคhlige Deutsche in Bewegung โ€“ mit Koffern voller Manuskripte, Skizzen oder einfach nur Hoffnung.

    Der Sรผden Frankreichs, die Cรดte dโ€™Azur, wurde fรผr viele von ihnen zum Rettungsanker. Das Licht, die Weite des Meeres, die Olivenhaine und Pinienhรผgel gaben den Flรผchtenden eine Ahnung von Freiheit. Auch praktisch war die Region gรผnstig: Die Lebenshaltungskosten waren niedriger als in Paris, und von Marseille aus bot sich die Mรถglichkeit, weiterzureisen, falls die Lage unsicher wurde. Schon zuvor hatten Kรผnstler und Literaten die Kรผste entdeckt, und so wirkte sie in den 1930er Jahren wie eine alte Bekannte, die nun ein neues Gesicht zeigte โ€“ die eines Exils.

    In diesen Jahren trafen hier die groรŸen Namen der deutschen Kultur zusammen: Thomas Mann schrieb in den Pensionen der Kรผste, sein Bruder Heinrich lebte mit Nelly Krรถger in Nizza. Lion Feuchtwanger schuf in seiner Villa in Sanary-sur-Mer einen geistigen Mittelpunkt, an dem Franz Werfel, Alma Mahler-Werfel und viele andere verkehrten. Bertolt Brecht zog unstet durch Sรผdfrankreich, stets auf der Suche nach einem Ort, an dem Arbeit und Sicherheit zusammenfielen. Maler wie Walter Bondy oder Schriftstellerinnen wie Annette Kolb prรคgten die Atmosphรคre zusรคtzlich.

    Besonders zwei Orte wurden zu Symbolen dieses Exils: Nizza, mit seiner kosmopolitischen Lebendigkeit und den Boulevards, auf denen sich Sprachen und Kulturen mischten; und Sanary-sur-Mer, ein kleiner Fischerort, dessen Hafenbecken zur Bรผhne einer Welt im Umbruch wurde. Dort, zwischen einfachen Fischerbooten und den Fassaden weiรŸer Hรคuser, entstand eine dichte Gemeinschaft von Exilanten, die im Schatten der drohenden Diktatur versuchten, ihre Sprache, ihre Kunst und ihre Hoffnung zu bewahren.

    So verband sich an der Cรดte dโ€™Azur die Schรถnheit der Landschaft mit der Dringlichkeit des รœberlebens โ€“ und hinterlieรŸ Spuren, die bis heute sichtbar sind.

  • The French Riviera of yesteryear

    Louis XIV organised the siege of Nice under the command of the Duke of La Feuillade. From 9 to 22 December 1705, the castle of Nice was bombarded relentlessly by 60 cannons and 24 mortars. More than 10,000 bombs and 120,000 cannonballs were fired at the castle during the siege, resulting in between 700 and 800 deaths and injuries. It was not until 4 January 1706 that the Marquis de Caraglio, commander of the citadel of Nice and governor of the county of Nice, surrendered.

    Engraving of Nice and its castleEngraving of Nice and its castle
  • Varian Fry โ€“ From Berlin to Marseille

    in german below:

    A life between observation and responsibility

    When Varian Fry traveled to Europe aboard the transatlantic liner Bremen in 1935, he was still a young journalist, driven by curiosity, acumen, and an incorruptible eye for the political tensions of his time. Even during the crossing, among diplomats, businesspeople, and emigrants, he heard conversations about Hitler’s job creation programs, currency controls, and growing anti-Semitism. It was a premonition of what awaited him on the continent.

    In Berlin, he took up residence at the Hotel-Pension Stern on Kurfรผrstendamm, a middle-class establishment in the heart of the capital. There, in the breakfast rooms, amid the rustling of newspapers, he conducted his first interviews: politicians who were still wavering between loyalty and inner resistance, business leaders who saw the regime as both a threat and an opportunity, and university lecturers who were torn between academic caution and open ideological loyalty. But Fry didn’t just listen to the voices of the elites. He spoke to shopkeepers who reported boycott actions, to waiters who whispered about guests who had disappeared, to churchgoers who described the pressure on their pastors, and to taxi drivers whose sober cynicism often contained more truth than the official slogans.

    Kurfรผrstendamm became a burning mirror for Fry. Elegant strolling and intimidation by SA men existed side by side. One evening, he got caught up in a street battle: students were protesting against Gleichschaltung, and SA men were dispersing them with boots and batons. Fry, who only wanted to observe, was drawn into the melee. He escaped, but not without injuries โ€“ and not without an image of the violence he later described so vividly. Berlin had shown him how deeply ideology, fear, and violence had already penetrated everyday life.

    When Fry was sent to Marseille in 1940 on behalf of the Emergency Rescue Committee after the Wehrmacht invaded France, he was prepared. What he had only observed in Berlin now determined his actions: saving people who were on the Gestapo’s blacklists.

    Marseille, the last major port in unoccupied France, was a place of both hope and despair. Refugees from all over Europe flocked thereโ€”writers, artists, scientists, political dissidents. Fry worked under the guise of a journalist, but his real mission was to organize a rescue operation that was both improvised and life-threatening.

    His team was a diverse bunch: Miriam Davenport, the art historian; Mary Jayne Gold, a wealthy American who contributed money and courage; Daniel Bรฉnรฉdite, the French trade unionist who maintained contacts with officials and workers; and later also the young economist Albert Hirschman, who forged passports and organized escape routes. Together, they saved hundreds of people, including Marc Chagall, Heinrich Mann, Lion Feuchtwanger, Max Ernst, Hannah Arendt, and many others whose work shaped the cultural memory of the 20th century.

    The cooperation of the US was ambivalent. The Emergency Rescue Committee had sent him, but Washington kept its distance: officially, it did not want to risk a confrontation with Vichy France or Berlin. Fry therefore operated in a gray area, tolerated but viewed with suspicion. France also showed two faces: individual officials helped quietly, but the Vichy administration cooperated closely with the Germans and handed over refugees. It was only through bribery, forgery, and secret networks that Fry was able to continue his work.

    From Marseille, his contacts also extended to the Cรดte d’Azur: to Nice and Sanary-sur-Mer, where German exiles had been living since the early 1930sโ€”Heinrich and Thomas Mann, Lion Feuchtwanger, Franz Werfel, Alma Mahler-Werfel, and many others. Fry built on these structures, helping with onward transport, organizing visas and ship passages to Spain and Portugal. In this way, he connected the escape routes along the coast with the rescue routes in Marseille.

    But in 1941, Vichy put an end to his work. Fry was expelled, exhausted and plagued by guilt because he could not save everyone. Back in New York, he reported on his experiences and wrote his book Surrender on Demand in 1945, but it went unnoticed for a long time. In the early post-war years, America did not want to be reminded of that period of inaction, when individuals had shown more courage than states. Fry himself lived on the fringes of the intellectual scene, scarred by what he had experienced.

    It was not until decades later that he received the recognition he deserved. In 1996, Yad Vashem honored him as the first American with the title โ€œRighteous Among the Nations.โ€ Today, France and Germany also remember the โ€œAmerican Schindler,โ€ who acted not out of political calculation but out of moral clarity.

    Varian Fry was both an observer and an actor. In Berlin, he had learned to see behind the facades; in Marseille, he had taken action; in the US, he had fought for remembrance. His life journeyโ€”from the salons of the ocean liner Bremen to the Pension Stern on Kurfรผrstendamm to the improvised rescue offices in Marseilleโ€”is testimony to the fact that even a single individual can take responsibility in the face of violence.


    in german:

    Varian Fry – Von Berlin nach Marseille

    Ein Leben zwischen Beobachtung und Verantwortung

    Als Varian Fry 1935 an Bord des Transatlantikliners Bremen nach Europa reiste, war er noch ein junger Journalist, getrieben von Neugier, Scharfsinn und einem unbestechlichen Blick fรผr die politischen Spannungen seiner Zeit. Schon auf der รœberfahrt, zwischen Diplomaten, Geschรคftsleuten und Emigranten, hรถrte er Gesprรคche รผber Hitlers Arbeitsbeschaffungsprogramme, รผber Devisenkontrollen und รผber den wachsenden Antisemitismus. Es war eine Vorahnung dessen, was ihn auf dem Kontinent erwartete.

    In Berlin bezog er Quartier in der Hotel-Pension Stern am Kurfรผrstendamm, einem bรผrgerlichen Haus im Herzen der Hauptstadt. Dort, in den Frรผhstรผcksrรคumen, beim Rascheln der Zeitungen, fรผhrte er seine ersten Interviews: Politiker, die noch zwischen Loyalitรคt und innerem Widerstand schwankten, Wirtschaftsfรผhrer, die im Regime ebenso Bedrohung wie Chance sahen, und Universitรคtsdozenten, die zwischen akademischer Vorsicht und offener Ideologietreue lavierten. Doch Fry hรถrte nicht nur den Stimmen der Eliten zu. Er sprach mit Ladenbesitzern, die von Boykottaktionen berichteten, mit Kellnern, die im Flรผsterton von verschwundenen Gรคsten erzรคhlten, mit Kirchenbesuchern, die den Druck auf ihre Pfarrer schilderten, und mit Taxichauffeuren, deren nรผchterner Zynismus oft mehr Wahrheit enthielt als die offiziellen Parolen.

    Der Kurfรผrstendamm wurde fรผr Fry zu einem Brennspiegel. Elegantes Flanieren und Einschรผchterung durch SA-Mรคnner existierten nebeneinander. Eines Abends geriet er in eine StraรŸenschlacht: Studenten protestierten gegen die Gleichschaltung, SA-Mรคnner trieben sie mit Stiefeln und Schlagstรถcken auseinander. Fry, der nur beobachten wollte, wurde in das Getรผmmel hineingezogen. Er entkam, aber nicht ohne Verletzungen โ€“ und nicht ohne ein Bild jener Gewalt, die er spรคter so eindringlich beschrieb. Berlin hatte ihm gezeigt, wie tief Ideologie, Angst und Gewalt bereits in den Alltag eingedrungen waren.

    Als Fry 1940, nach dem Einmarsch der Wehrmacht in Frankreich, im Auftrag des Emergency Rescue Committee nach Marseille entsandt wurde, war er vorbereitet. Was er in Berlin nur beobachtet hatte, bestimmte nun sein Handeln: Menschen retten, die auf den schwarzen Listen der Gestapo standen.

    Marseille, der letzte groรŸe Hafen im unbesetzten Frankreich, war ein Ort der Hoffnung und Verzweiflung zugleich. Flรผchtlinge aus ganz Europa strรถmten dorthin โ€“ Schriftsteller, Kรผnstler, Wissenschaftler, politische Dissidenten. Fry arbeitete unter dem Deckmantel eines Journalisten, doch sein eigentlicher Auftrag war die Organisation einer Rettungsmaschine, die zugleich improvisiert und lebensgefรคhrlich war.

    Sein Team war bunt zusammengesetzt: Miriam Davenport, die Kunsthistorikerin; Mary Jayne Gold, eine wohlhabende Amerikanerin, die Geld und Mut beisteuerte; Daniel Bรฉnรฉdite, der franzรถsische Gewerkschafter, der Kontakte zu Beamten und Arbeitern hielt; spรคter auch der junge ร–konom Albert Hirschman, der Pรคsse fรคlschte und Fluchtwege organisierte. Gemeinsam retteten sie Hunderte โ€“ unter ihnen Marc Chagall, Heinrich Mann, Lion Feuchtwanger, Max Ernst, Hannah Arendt und viele andere, deren Werk das kulturelle Gedรคchtnis des 20. Jahrhunderts prรคgt.

    Die Kooperation der USA war ambivalent. Das Emergency Rescue Committee hatte ihn entsandt, doch Washington hielt Distanz: Offiziell wollte man keine Konfrontation mit Vichy-Frankreich oder Berlin riskieren. Fry agierte daher im Graubereich, geduldet, aber misstrauisch beรคugt. Auch Frankreich zeigte zwei Gesichter: Einzelne Beamte halfen im Stillen, doch die Vichy-Administration kooperierte eng mit den Deutschen und lieferte Flรผchtlinge aus. Nur durch Bestechungen, Fรคlschungen und heimliche Netzwerke gelang es Fry, seine Arbeit fortzufรผhren.

    Von Marseille aus reichten seine Kontakte auch an die Cรดte dโ€™Azur: nach Nizza und nach Sanary-sur-Mer, wo bereits seit den frรผhen 1930er Jahren deutsche Exilanten lebten โ€“ Heinrich und Thomas Mann, Lion Feuchtwanger, Franz Werfel, Alma Mahler-Werfel und viele andere. Fry knรผpfte an diese Strukturen an, half beim Weitertransport, organisierte Visa und Schiffspassagen nach Spanien und Portugal. So verband er die Fluchtwege an der Kรผste mit den Rettungsrouten in Marseille.

    Doch 1941 setzte Vichy seiner Arbeit ein Ende. Fry wurde ausgewiesen, ausgelaugt und von Schuldgefรผhlen geplagt, weil er nicht alle retten konnte. Zurรผck in New York berichtete er, schrieb 1945 sein Buch Surrender on Demand, doch es blieb lange unbeachtet. Amerika wollte in den ersten Nachkriegsjahren nicht erinnert werden an jene Zeit der Untรคtigkeit, als Einzelne mehr Mut gezeigt hatten als Staaten. Fry selbst lebte am Rande der intellektuellen Szene, gezeichnet von dem, was er erlebt hatte.

    Erst Jahrzehnte spรคter erhielt er die Anerkennung, die ihm gebรผhrte. 1996 ehrte ihn Yad Vashem als ersten Amerikaner mit dem Titel โ€žGerechter unter den Vรถlkernโ€œ. Auch in Frankreich und Deutschland erinnert man heute an den โ€žamerikanischen Schindlerโ€œ, der nicht aus politischem Kalkรผl, sondern aus moralischer Klarheit handelte.

    Varian Fry war Beobachter und Akteur zugleich. In Berlin hatte er gelernt, hinter die Fassaden zu sehen, in Marseille hatte er gehandelt, in den USA hatte er fรผr Erinnerung gestritten. Sein Lebensweg โ€“ von den Salons des Linienschiffs Bremen รผber die Pension Stern am Kurfรผrstendamm bis zu den improvisierten Rettungsbรผros in Marseille โ€“ ist ein Zeugnis dafรผr, dass auch ein Einzelner im Angesicht der Gewalt Verantwortung รผbernehmen kann.


    Varian Fry

    Photo:Varian Fry in Marseille. Frankreich, 1940โ€“1941 in Marseille. US Holocaust Memorial Museum, courtesy of Annette Fry

  • The Salon of Economics

    The Salon of Economics

    A play in five scenes

    Characters

    David Ricardo โ€“ sober theorist, speaks concisely, emphatically, almost like a maths teacher

    • Karl Marx โ€“ passionate, boisterous, with powerful gestures
    • Thomas Robert Malthus โ€“ sombre, solemn, with the tone of a preacher
    • John Stuart Mill โ€“ calm, conciliatory, clear and moral
    • Alfred Marshall โ€“ analytical, level-headed, with an instructive tone
    • John Maynard Keynes โ€“ elegant, ironic, moves casually, almost dance-like
    • Schumpeter, Hayek, Sismondi โ€“ hecklers, designed as a chorus

    Stage design

    A Victorian salon: dark wood panelling, heavy curtains, a log fire, globe, leather armchairs. Manuscripts, quills and glasses of wine lie on the tables. The light is warm, dominated by candles and the fireplace.

    Scene I โ€“ The cloth and the wine

    Stage direction: Ricardo stands by the globe, cane in hand. He speaks without making eye contact, staring at the map as if it were an equation. Marx sits restlessly, drumming his fingers, ready to explode.

    Ricardo (dryly, with clear emphasis, pointing with his cane):
    England โ€“ cloth. Portugal โ€“ wine. Exchange. Advantage for both. It’s that simple.

    Marx (jumps up, voice loud, gestures widely):
    That simple? You forget the worker! He spins the cloth, he presses the wine โ€“ and starves. Your mathematics is a veil over blood and sweat.

    Malthus (rises slowly, speaks solemnly, both hands raised like a preacher):
    You argue about bread and wine, but hunger remains. The population is growing faster than food supplies. Misery is no accident, it is a law of nature.

    Stage direction: Silence. Only the crackling of the fireplace. The characters look down at the floor, shocked.

    Scene II โ€“ Hope and Illusion

    Mill (steps forward, calm, palms open to the audience):
    Mr Malthus, you paint too bleak a picture. Progress is possible. Education, institutions, democracy โ€“ they can alleviate poverty.

    Marx (cutting, pointing his finger at Mill):
    Alleviate, yes โ€“ but never cure. You polish chains, Mr Mill. But chains remain chains.

    Marshall (stands up slowly, speaks like a lecturer, hands clasped behind his back):
    The market is not a machine. It thrives on habits, trust, human psychology. We economists must understand people โ€“ not just numbers.

    Stage direction: Mill nods thoughtfully, Marx snorts contemptuously, Malthus turns away as if he does not want to hear the conversation.

    Scene III โ€“ The gentleman with the sherry

    Stage direction: Suddenly, a door opens. A beam of light falls on Keynes, who casually enters with a glass of sherry. He walks slowly to the fireplace as if he were in his own home.

    Keynes (ironically, voice slightly playful):
    Oh, the voices of the 19th century! I come from the 20th โ€“ wars, stock market crashes, armies of unemployed. Believe me: markets do not heal. Without the state: ruin.

    Ricardo (stamps his cane on the floor, indignant):
    And you believe civil servants can calculate better than markets?

    Keynes (takes a sip, leans back relaxed against the fireplace):
    Not better at calculating โ€“ but at acting when inaction kills. During the Depression, waiting didn’t help, only intervention did. The state โ€“ the doctor of capitalism.

    Marx (laughs bitterly, raises both arms):
    A doctor who nurses the disease! Mr Keynes, you are not the healer โ€“ you are the personal physician of dying capital.

    Stage direction: Keynes smiles charmingly, as if he has heard the accusation a thousand times before.

    Scene IV โ€“ The hecklers

    Stage direction: Light on the second row, where three figures are sitting. They speak alternately, sometimes all at once.

    Schumpeter (almost ecstatic, arms spread wide):
    You talk of balance! But capitalism is destruction โ€“ creative destruction! The entrepreneur tears down the old and creates the new.

    Hayek (cutting, with raised index finger):
    And woe betide the state that believes it can control this chaos. Planning is presumption. Freedom is order โ€“ even if it looks like chaos.

    Sismondi (quietly, pleadingly, stepping forward):
    But who protects the people who are drowning in chaos? Without morality, your market will become a slaughterhouse.

    Scene V โ€“ The Echo

    Stage direction: Everyone steps forward into a semicircle. Each calls out their line into the darkness of the auditorium, first individually, then overlapping, until a chorus emerges. The light flickers, the fireplace goes out.

    Ricardo (loud, authoritative): Trade is reason!
    Marx (thundering): Capital is domination!
    Malthus (gloomy, solemn): Nature is limitation!
    Mill (clear, moral): Reform is duty!
    Marshall (calm, analytical): Markets are organisms!
    Keynes (ironic, almost dance-like): The state is doctor!
    Schumpeter (enthusiastic): Destruction is creation!
    Hayek (sharp): Freedom is chaos!
    Sismondi (pleading): Morality is necessity!

    Stage direction: The voices overlap, become louder, chaotic, then abruptly silent. Only a faint echo remains. The lights go out.

    Curtain.

    KK

  • Thomas Mann on Wagner, Nietzsche and Freud

    Thomas Mann on Wagner, Nietzsche, and Freud โ€“ Germanness as reflected in modernity

    When Thomas Mann speaks, people listen โ€“ not only because of the elegance of his language, but also because of his sharp insight into German culture. In his lecture on Richard Wagner on February 10, 1933, he ventured an interpretation that removed the composer from the sphere of nationalistic veneration and placed him in the vicinity of another authority that was just beginning to take effect: Sigmund Freud’s new ideas.

    Thomas Mann portrays Richard Wagner as an artist of a broken modernity, as a figure who does not rest in sublimity but is marked by inner conflicts. The excess, the pathos, the ecstatic exaggeration of his music appear to Mann as symptoms of a psychological struggle โ€“ an expression of the unconscious that Freud had made visible for the first time.

    In this interpretation, Wagner’s โ€œGermannessโ€ is not understood as a proud, flawless force, but as a spiritual fabric of greatness and illness, of creative vision and corrosive self-analysis. For Mann, Wagner is not a national saint, but the first great representative of a modern, self-questioning Germany.

    But Thomas Mann did not stop at psychoanalytic interpretation. He drew further parallels โ€“ to Friedrich Nietzsche, the philosopher who was initially ardently devoted to the โ€œMaster of Bayreuthโ€ before turning away from him in a radical break. For Mann, this relationship was particularly revealing: Nietzsche recognized in Wagner’s intoxication, demonism, and excess the danger of exaggeration that could tip over into pathology.

    In Nice, where Mann lived for a time, he sensed the same tension between illness and creation that Nietzsche had experienced so vividly in the south. Nice, with its light and its vastness, became a contrasting image for both of themโ€”a place of recovery and clarity, but also of painful self-observation. For Mann, Wagner embodied the abysmal German, while Nietzsche represented the critical, clarifying authority that rejected this legacy and at the same time transformed it creatively.

    But Thomas Mann himself was always reflected in this constellation. Like Wagner, he saw himself as an artist who drew inspiration from inner turmoil. The โ€œbourgeois solidityโ€ he embodied outwardly only partially concealed the abysses and ambivalences that nourished his work. From Nietzsche, he adopted the role of the self-analyst who recognizes weakness, critically penetrates it, and thereby overcomes it.

    In Nice, in the light of the Cรดte d’Azur, this self-interpretation became particularly clear to Mann. The south made him realize that Germanness was not only fate, but also a task: to reflect on it critically, to name its dangers, and to transform it from within. Wagner, Nietzsche, and Freud were not mere points of reference for him, but reflections of his own existence.

    This lecture on Wagner thus goes far beyond music. It proves to be a key text on Thomas Mann’s journey from defender of the โ€œGerman essenceโ€ in Reflections of an Unpolitical Man to sharp critic who opposed National Socialism in exile. What began in Nice in reflections on Wagner and Nietzsche found its conclusion in a clear rejection of self-destructive Germanness.

    Thomas Mann’s interpretation of Wagner is a document of intellectual self-discovery: the linking of music, philosophy, and psychoanalysis into a triad of modernityโ€”and at the same time the confession of a poet who recognized his own destiny in the mirror of Wagner and Nietzsche.

    Thomas Mann und Friedrich Nietzsche, Siegmund Freud und Richard Wagner