Mann is widely recognized as a master of irony and ambiguity, yet it's remarkable how quickly people foreclose options he carefully leaves open. Lots of readers - including eminent critics - jump to conclusions: that Nietzsche's Birth of Tragedy is a central background text, that Aschenbach is an inferior writer, that he's never been attracted by pubescent male beauty before, that he dies of cholera.
I don't think readers of Mann have overlooked the fact that he was a great ironist, but they have tended to see the irony in particular parts of the novella, and to miss it in others.
Even though I want to expand the number of ways in which skilful ironic play happens, I suspect I'm probably guilty of the same shortcoming - and I hope that, one of these days, someone will claim that my book, while it goes in a salutary expansive direction, doesn't go far enough, that there are assumptions I make that show I've missed aspects of Mann's irony and ambiguity.
Critics who perceive the first level of Mann's irony recognize that the second voice is giving us reasons to be dubious about various aspects of Aschenbach's life and work. But many of them don't appreciate the second level of irony, the one exemplified in setting this narrative voice alongside the more sympathetic one, and inviting us to choose.
I think the tone of mockery Heller finds is a part of Mann's irony, but only a part - a brilliant further touch consists in juxtaposing perspectives so that we're led to wonder whether the mockery itself is the last word.
Was Mann himself fully aware of all the facets of his irony? Probably not - any more than Shakespeare was fully aware of all the riches subsequent critics have found in his plays.
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