Questions From a Worker Who Reads by Bertolt Brecht Summary
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Join to serve the common cause!
So it feeds us all forever
See to information technology that it's now yours.
Black or white or dark-brown or yellow
Go out your former disputes behind
One time get-go talking with your fellow
man, you'll shortly be of one heed.
Forward, without forgetting
Where our strength can be seen now to be!
When starving or when eating
Forrard, not forgetting
Our solidarity!
Workers of the globe, uniting
That's the way to lose your bondage
Mighty regiments now are fighting
That no tyrrany remains!
W
People of the globe togetherJoin to serve the common cause!
And then it feeds us all forever
Encounter to it that it's now yours.
Black or white or brownish or yellowish
Go out your old disputes behind
Once kickoff talking with your fellow
man, you'll soon be of one mind.
Forward, without forgetting
Where our force tin can be seen at present to be!
When starving or when eating
Forward, not forgetting
Our solidarity!
Workers of the earth, uniting
That'south the style to lose your chains
Mighty regiments at present are fighting
That no tyrrany remains!
Whose tomorrow is tomorrow?
And whose globe is the globe?
Who congenital the 7 gates of Thebes?
The books are filled with names of kings.
Was information technology the kings who hauled the craggy blocks of stone?
And Babylon, so many times destroyed.
Who built the city upward each fourth dimension? In which of Lima's houses,
That city glittering with gold, lived those who built it?
In the evening when the Chinese wall was finished
Where did the masons become? Royal Rome
Is full of arcs of triumph. Who reared them up? Over whom
Did the Caesars triumph? Byzantium lives in vocal.
Who built the vii gates of Thebes?
The books are filled with names of kings.
Was it the kings who hauled the craggy blocks of stone?
And Babylon, so many times destroyed.
Who built the city up each time? In which of Lima'southward houses,
That city glittering with golden, lived those who built it?
In the evening when the Chinese wall was finished
Where did the masons go? Imperial Rome
Is total of arcs of triumph. Who reared them up? Over whom
Did the Caesars triumph? Byzantium lives in vocal.
Were all her dwellings palaces? And even in Atlantis of the legend
The night the seas rushed in,
The drowning men withal bellowed for their slaves.
Young Alexander conquered Republic of india.
He alone?
Caesar beat out the Gauls.
Was there not even a cook in his ground forces?
Phillip of Spain wept as his fleet
was sunk and destroyed. Were there no other tears?
Frederick the Great triumphed in the Vii Years War.
Who triumphed with him?
Each folio a victory
At whose expense the victory ball?
Every ten years a not bad man,
Who paid the piper?
So many particulars.
And then many questions.
These poems are didactic, this is Brecht, after all, and he declared t
My German language is as well rusty for me to gauge if the translation captures the feel of the original, and then some of these comments are about the translation. ohmgod, it's awful. The majority of the poems that rhyme have terrible, doggerel rhymes and rhythms. I read the German aloud, but without the vocabulary needed to comprehend. I learned from this that the rhythms seem amend in the original, though Brecht wrote a lot of rhyming verse.These poems are didactic, this is Brecht, after all, and he declared that poetry should be political every bit a kind of manifesto. I'm OK with a degree of didacticism, as long as everything else in a poem is great, and that is another problem with these poems. Too much isn't great and the trite lines make his political points seem trite.
I did similar three or iv of the costless verse poems quite a chip, and maybe two of the story poems. A few others are OK. This volume is not a hopeless loss. I volition requite Brecht'south poetry some other chance if I can find a different translation.
...more than
The mask of an evil demon, busy with gilt lacquer.
Sympathetically I observe
The bloated veins of the forehead, indicating
What a strain it is to be evil." "On my wall hangs a Japanese etching.
The mask of an evil demon, busy with gold lacquer.
Sympathetically I observe
The swollen veins of the forehead, indicating
What a strain information technology is to be evil." ...more
دنیای ما چنین است
اگر شاهکار نباشی خواهی مرد
This is a skillful selection of Brecht's poetry in a manageable size, with a very good introduction. Information technology's likewise great to have the German original on the facing page.
The translations are a bit strong compared to the Kuhn set, and it doesn't really give you whatever information on the poems, even when they were written/published. Likewise, I don't
I read this forth with the contempo Kuhn and Constantine translation. You can run into my overall thoughts of Brecht's poetry here: https://world wide web.goodreads.com/review/testify....This is a skillful pick of Brecht'due south poetry in a manageable size, with a very skilful introduction. Information technology'due south as well nifty to accept the German original on the facing page.
The translations are a fleck potent compared to the Kuhn gear up, and it doesn't actually requite you any information on the poems, even when they were written/published. Also, I don't know why poems/songs from the plays were included (in either edition of poems) when there are so many poems to include. (And the plays are so readily available.)
Overall, though, a good selection of Brecht's poetry.
...more
From his tardily twenties Brecht remained a life-long committed Marxist who, in developing the combined theory and practice of his 'epic theatre', synthesized and extended the experiments of Piscator and Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism. Brecht's modernist concern with drama-equally-a-medium led to his refinement of the 'epic form' of the drama (which constitutes that medium's rendering of 'autonomization' or the 'non-organic work of art'—related in kind to the strategy of divergent chapters in Joyce's novel Ulysses, to Eisenstein's evolution of a constructivist 'montage' in the cinema, and to Picasso's introduction of cubist 'collage' in the visual arts). In contrast to many other advanced approaches, however, Brecht had no desire to destroy fine art as an establishment; rather, he hoped to 're-office' the apparatus of theatrical production to a new social use. In this regard he was a vital participant in the aesthetic debates of his era—particularly over the 'high art/popular civilization' dichotomy—vying with the likes of Adorno, Lukács, Bloch, and developing a close friendship with Benjamin. Brechtian theatre articulated pop themes and forms with avant-garde formal experimentation to create a modernist realism that stood in sharp dissimilarity both to its psychological and socialist varieties. "Brecht's work is the most important and original in European drama since Ibsen and Strindberg," Raymond Williams argues, while Peter Bürger insists that he is "the most important materialist author of our time."
Equally Jameson among others has stressed, "Brecht is also 'Brecht'"—collective and collaborative working methods were inherent to his approach. This 'Brecht' was a collective subject area that "certainly seemed to accept a distinctive style (the 1 we now phone call 'Brechtian') only was no longer personal in the bourgeois or individualistic sense." During the course of his career, Brecht sustained many long-lasting creative relationships with other writers, composers, scenographers, directors, dramaturgs and actors; the list includes: Elisabeth Hauptmann, Margarete Steffin, Ruth Berlau, Slatan Dudow, Kurt Weill, Hanns Eisler, Paul Dessau, Caspar Neher, Teo Otto, Karl von Appen, Ernst Busch, Lotte Lenya, Peter Lorre, Therese Giehse, Angelika Hurwicz, and Helene Weigel herself. This is "theatre as collective experiment [...] every bit something radically different from theatre every bit expression or equally experience."
There are few areas of modern theatrical civilisation that have not felt the impact or influence of Brecht'southward ideas and practices; dramatists and directors in whom one may trace a articulate Brechtian legacy include: Dario Fo, Augusto Boal, Joan Littlewood, Peter Brook, Peter Weiss, Heiner Müller, Pina Bausch, Tony Kushner and Caryl Churchill. In addition to the theatre, Brechtian theories and techniques have exerted considerable sway over certain strands of film theory and cinematic practice; Brecht's influence may exist detected in the films of Joseph Losey, Jean-Luc Godard, Lindsay Anderson, Rainer Werner Fassbinder, Nagisa Oshima, Ritwik Ghatak, Lars von Trier, January Bucquoy and Hal Hartley.
During the war years, Brecht became a prominent writer of the Exilliteratur. He expressed his opposition to the National Socialist and Fascist movements in his virtually famous plays.
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When evil-doing comes similar falling rain, nobody calls out "stop!"
When crimes begin to pile upwards they get invisible. When sufferings get unendurable the cries are no longer heard. The cries, too, autumn similar rain in summertime."
Swine or eagle, lean or fat i:
Some were tiers, some hyenas,
Nevertheless we fed this one and that one.
Whether one is better than the other:
Ah, one boot is always like another
When it treads upon y'all. What I say about them
Is we need no other masters: we tin can exercise without them!
Yes, the bicycle is always turning madly,
Neither side stays upwards or down,
But the water underneath fares badly
For it has to brand the wheel go round.
(Ach, wir hatten viele Herren
Hatten Tiger und Hyänen
Hatten Adler, hatten Schweine
Doch wir nährten den und jenen.
Ob sie besser waren oder schlimmer:
Ach, der Stiefel glich dem Stiefel immer
Und uns trat er. Ihr versteht, ich meine
Dass wir keine andern Herren brauchen, sondern keine!
Freilich dreht das Rad sich immer weiter
Dass, was oben ist, nicht oben bleibt.
Aber für das Wasser unten heisst das leider
Nur dass es das Rad halt ewig treibt.)"
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Source: https://www.goodreads.com/book/show/74095.Selected_Poems
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