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Schwärmerei is a local liqueur, brewed by Opitz and Raimund using a special blend of mushrooms with apparent hallucinogenic qualities. It is an important symbol in the text that reflects The Tensions Between “Rational” and “Irrational.”
The Schwärmerei is stored in distinctive green bottles and appears without fail after every evening meal. Wojnicz is introduced to the liqueur on his very first night in Opitz’s guesthouse. The other guests seem almost dependent on the drink, sneaking down in the middle of the night to steal another shot when they think everyone else is asleep. August August even carries a private bottle in his coat, refusing to venture anywhere without ready access to the drink. Wojnicz comes to suspect that the Schwärmerei is clouding his senses. Even when he wants to remain sober, he finds himself drinking from August August’s bottle or sharing a night cap with the other guests. These drinks, imposed on Wojnicz against his will, symbolize his gradual loss of agency. He feels trapped by his surroundings, to the point that he cannot even refuse a drink.
The Schwärmerei also satisfies a deeper psychological function. Opitz and Raimund are well aware of the town’s dark secret. The consumption of Schwärmerei allows them to deliberately intoxicate themselves, inoculating themselves to the shameful truth of the annual sacrifices. They drink Schwärmerei to forget. The whole town would rather drink itself into this numbed state of ignorance rather than confront the truth about what they are doing, and that their world is not as orderly or rational as they pretend it is.
The Kurhaus is the main structure of the sanatorium that now dominates the small mountain town of Görbersdorf. Built by Dr. Brehmer, the Kurhaus is in an elevated position in the city and this physical elevation symbolizes the implied hierarchy of the social order. The Kurhaus is—in a symbolic, physical, and material sense—at the top of this hierarchy. The Kurhaus now dominates the local economy, as well as the skyline, housing the wealthiest people who come to receive treatment in Görbersdorf.
The Kurhaus is a towering symbol of modernity, showing what has been made possible due to the new technologies in the construction industry. Most importantly, however, is the functionality of the sanatorium itself. The Kurhaus is a symbolic testament to humanity’s dominion over disease. While tuberculosis may not be cured, the existence of something like the Kurhaus suggests that the best and brightest doctors of the world are on the cusp of eliminating a disease that has killed so many. As such, the towering structure of the Kurhaus stands in stark symbolic contrast to the untamed wilderness of the forest beyond the town’s borders, embodying the male-dominated, ostensibly “rational” world of the town against the excluded, feminine-coded world of the forest.
The Tuntschi refer to the figures made from forest materials that can be found throughout the forest surrounding the town of Görbersdorf. They are an important symbol that speak to The Societal Construction of Gender.
Wojnicz first encounters a Tuntschi when he is out picking mushrooms with Opitz and Raimund. The local men treat the discovery as a joke; they explain that the local charcoal burners make the Tuntschi due to their long periods of separation from women. Opitz claims that any all-male community would do the same, insisting that it is a fact that men “need” a sexual outlet. Wojnicz, however, is unsettled and disturbed by the figures and his imaginings of the men having sex with them, which foreshadows the revelation of the female aspect of Wojnicz’s own identity.
The Tuntschi initially symbolize the objectification and domination of women by the male inhabitants of the town. Their intended purpose as lifeless sex objects speaks to how the men seek to oppress the local women through discrimination and violence. Likewise, their placement in the forest situates them in a feminine-coded space, as the local men tell legends of how some of the town’s female inhabitants have fled into the forest and remained there as “feral” beings.
However, the Tuntschi later emerge as a symbol of female rebellion against patriarchal domination toward the novel’s end, when Wojnicz discovers that the men enter a frenzy and make a sacrifice to them each year to placate them. Their sacrificial ritual speaks to the men’s deep-seated anxiety toward female agency and power, while the Tuntschi’s association with the novel’s narrative voice speaks to the defiant resilience of the feminine element that the men have tried to repress.
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