Mann hesitated to use homosexuality as a theme in the novel as he himself was gay and decided to use "negroid masochism" as the main character's sexual preference. After the novel's publication in 1936, the newspaper Pariser Tageszeitung presented it as a roman à clef. Mann resented this characterization and argued that he had not written about a particular individual, but about a type of individual. Synopsis The novel portrays actor Hendrik Höfgen's rise from the Hamburger Künstlertheater (Hamburg Artists' Theater) in 1926 to nationwide fame in 1936. Initially, Höfgen flees to Paris on receiving news of the Nazis' rise to power because of his communist past (learning from a friend that he is on a blacklist). A former co-actress from Hamburg, Angelika Siebert, travels to Berlin to convince Lotte von Lindenthal, the girlfriend (and later wife) of a Luftwaffe general, to have him pardoned. On returning to Berlin he quickly manages to win over Lotte and her general, and with his support has a wonderful career. On obtaining the role of Mephisto in Faust Part One he realizes that he actually made a pact with evil (i.e. Nazism) and lost his humane values (even denouncing his mistress as "Black Venus"). There are situations where Höfgen tries to help his friends or tell the prime minister about concentration camp hardships, but he is always concerned not to lose his Nazi patrons. Plot The Prussian Ministerpräsident (Prime Minister) celebrates his 43rd birthday in 1936 in the Berliner Opernhaus (Berlin Opera House). The party is so magnificent and extravagant that the foreign guests feel intimidated. As the propaganda minister enters the hall, his presence creates a stir. He is surrounded by an ice-cold atmosphere. Despite his disability he walks through the hall directly towards the director of the state theatre, Hendrik Höfgen. Although he hates the 39-year-old, he allows himself to be photographed conversing with him. To guarantee a good consequence of his appearance, the Ministerpräsident delays his arrival to the party. Later he enters with his wife, Lotte Lindenthal. The story then reverts to the mid-1920s: Hendrik Höfgen, Otto Ulrichs and Hans Miklas belong to the Hamburger Künstlertheater (Artists' Theatre in Hamburg). Höfgen currently works there as an actor and director, and is friends with Otto Ulrichs, as they incessantly plan a "revolutionary theatre." The Hamburger Künstlertheater is the first rung on Höfgen's career ladder. He works there 16 hours a