Bertolt Brecht
German poet, playwright, and theatrical reformer, one of the most prominent figures in the 20th-century theatre. Bertolt Brecht was concerned with encouraging audiences to think rather than becoming too involved in the story line and to identify with the characters. In this process he used alienation effects (A Effekts). Brecht developed a form of drama called epic theatre in which ideas or didactic lessons are important.
He was born in Augsburg. His father, a Catholic, was the director of a paper company and his mother, a Protestant, was the daughter of a civil servant. Brecht began to write poetry as a boy, and had his first poems published in 1914. After finishing elementary school, he was sent to the Königliches Realgymnasium, where he gained fame as an enfant terrible.
Brecht was influenced by a wide variety of sources including Chinese, Japanese, and Indian theatre, the Elizabethans (especially Shakespeare), Greek tragedy, Büchner, Wedekind, fair-ground entertainments, the Bavarian folk play, and many more. Such a wide variety of sources might have proven overwhelming for a lesser artist, but Brecht had the uncanny ability to take elements from seemingly incompatible sources, combine them, and make them his own.
Bertolt Brecht was born in Augsburg. His father, a Catholic, was the director of a paper company and his mother, a Protestant, was the daughter of a civil servant. Brecht began to write poetry as a boy, and had his first poems published in 1914. After finishing elementary school, he was sent to the Königliches Realgymnasium, where he gained fame as an enfant terrible.
In 1917 Brecht enrolled as a medical student at the Ludwig Maximilian University of Munich, where he sometimes attended also the theatre seminar conducted by Professor Artur Kutscher. Between 1919 and 1921 he wrote theatre criticisms for the left-wing Socialist paper Die Augsburger. After military service as a medical orderly, he returned to his studies, but abandoned them in 1921. During the Bavarian revolutionary turmoil of 1918, Brech wrote his first play, BAAL, which was produced in 1923. The play celebrated life and sexuality and was huge success.
Brecht's association with Communism began in 1919, when he joined the Independent Social Democratic party. Friendship with the writer Lion Feuchtwanger was an important literary contact for the young writer. Feuchtwanger advised him on the discipline of playwriting. In 1920 Brecht was named chief adviser on play selection at the Munich Kammerspiele. As a result of a brief affair with Fräulein Bie Banholzer, Brecht's son Frank was born. In 1922 he married the opera singer Marianne Zoff; they divorced in 1927.
Brecht was appointed in 1924 a consultant at Max Reinhardt's Deutches Theater in Berlin. Brecht´s rise to international fame began with TROMMELN IN DER NACHT (1922). DIE DREIGROSCHENOPER, after John Gay´s The Beggar´s Opera, Brecht made with the composer Kurt Weil. Gay's play, revived by Sir Nigel Playfair at the Lyric Theatre in London, had been a great success from 1920. Brecht moved the action to Victorian times, and instead of mocking the pretentions of Italian grand opera, he attacked on bourgeois respectability. Although rehearsals were disastrous, the audience wanted to hear over and over again the duet between Macheath and the Police Chief, Tiger Brown.
"Oh, the shark has pretty teeth, dear -
And he shows them pearly white -
Just a jackknife has Macheath, dear -
And he keeps it out of sight."
(from The Threepenny Opera, 1928)
Around 1927 Brecht started to study Karl Marx's Das Kapital and by 1929 he had adopted Communist ideology. At the Schiffbauerdam Theater he trained many actors who were to become famous on stage and screen, among them Oscar Homolka, Peter Lorre, and the singer Lotte Lenya, Kurt Weil's wife. MANN IST MANN, in which Lorre played Galy Gay, a simple Irish dock worker, closed only after six performances in 1931, but Brecht defended Lorre's performance as the hallmark of a new style of acting. With Hanns Eisler Brecht worked on a political film, Kuhle Wampe, the name referring to an area of Berlin where the unemployed lived in shacks. The film was released in 1932 and forbidden shortly afterward. Brecht's politcally committed play, DIE MASSNAHME (1930, The Measures Taken) reflected his antisentimentality and directness, which even the Communist Party found hard. In the play a young Communist is murdered by the Party his sympathy for the poor and their suffering only postpones the day of the historical showdown between the working class and capitalist class. The lesson is that the freedom of the individual must be suppressed today so that in the future mankind will be able to achieve freedom.
In the 1930s Brecht´s books and plays were banned in Germany, and theatrical performances were interrupted by the police or summarily forbidden. He went into exile, first to Denmark, where he lived mostly near Svendborg on the island of Fyn until 1939, and then in April, 1940, to Finland, where he settled in Iitti in Villa Marlebäck as the guest of the Finnish author Hella Wuolijoki. The place is in the middle of the countryside, far from the cities, and perhaps boring for a person used to lively metropolitan surroundings. "... these light nights are very beautiful," Brecht wrote in his diary. "i got up at three o'clock because of the flies, and went out. cocks were crowing, but it had not been dark. i like to relieve myself in the open ..." During the months at Marlebäck, Brecht wrote with Wuolijoki the folk-comedy HERR PUNTILA UND SEIN KNECHT MATTI (1940), and made during his stay his admiring "surrogate mother" jealous because of affairs with other women. Brech, who disliked bathing, was also famous for his promiscuousness.
Brecht continued in May of 1941 with his wife, children and secretary through Russia to the United States, eventually ending in Santa Monica. Ruth Berlau, a Danish actress and Brecht's mistress, had joined family in Helsinki and travelled with them from Finland to America Margarete Steffin, a German proletarian writer and Brecht's secretary and mistress, died in Moscow; she had been tubercular when she left Germany. Like Berlau, she made contributions to Brecht’s exile plays. In the new country Brecht tried to write for Hollywood, but the only script that found partial acceptance was Hangmen Also Die (1942). This anti-Nazi film was directed by Fritz Lang, the screenplay was written by John Wexley. "The intellectual isolation here is enormous," Brecht compained. "Compared to Hollywood, Svendborg was a world center." His ideas, such as "the production, distribution and enjoyment of bread," were not taken seriously by movie moguls. In 1947 Brecht was accused of un-American activities, but managed to confuse with half-truths J. Parnell Thomas, the chairman of the House Committee on Un-American Activities, who praised Brecht for being an exemplary witness. However, Brecht had seen the writing on the wall and he flew to Switzerland, without waiting for the opening of his play Galileo in New York.
Between the years 1938 and 1945 Brecht wrote his four great plays. LEBEN DES GALILEI (1938-39, The Life of Galileo), which did follow too slavishly the actual historical person, dealt with the hero's self-condemnation for giving up his heliocentric theory in front of the Inquisition. Originally it was aimed at Broadway with Peter Lorre and Lotte Lenya playing the central roles. MUTTER COURAGE UND IHRE KINDER (1939) was an attempt to demonstrate that greedy small entrepreneurs make devastating wars possible. "What they could do with round here is a good war. What else can you expect with peace running wild all over the place? You know what the trouble with peace is? No organization." DER GUTE MENSCH VON SEZUAN (1938-40) examined the dilemma of how to be virtuous and at the same time survive in a capitalist world, and DER KAUKASICHE KREIDEKREIS (1944-45), demonstrating that ownership belongs best to those who can make humane use of it.
In the West as well as in the East Germany Brecht became the most popular contemporary poet, outdistanced only by such classics as Shakespeare, Schiller, and Goethe. Jean Vilar's production of Mutter Courage in 1951 secured him a following in France, and the Berliner Ensemble's participation in the Paris International Theatre Festival (1954) further spread his reputation. In 1955 Brecht received the Stalin Peace Prize. The next year he contracted a lung inflammation and died of a coronary thrombosis on August 14, 1956, in East Berlin.
Brecht's works have been translated into 42 languages and sold over 70 volumes. Drawing on the Greek tradition, he wanted his theater to represent a forum for debate hall rather than a place of illusions. From the Russian and Chinese theaters Brecht derived some of his basic concepts of staging and theatrical stylization. His concept of the Verfremdungseffekt, or V-Effekt (sometimes translated as 'alienation effect') centered on the idea of "making strange" and thereby making poetic. He aimed to take emotion out of the production, persuade the audience to distance from the make believe characters and urge actors to dissociate from their roles. Then the political truth would be more easy to comprehend. Once he said: "Nothing is more important than learning to think crudely. Crude thinking is the thinking of great men."
His contribution to the theater
Epic theater
Brecht felt strongly about the generally apolitical nature of the theater around which he grew up, particularly the realistic drama of Konstantin Stanislavski. When he began working as a writer and a director, the Second World War was looming large on the horizon, and Brecht believed that theater should engage more directly with the political climate of its day.
"Epic Theater" was Brecht's term for the form of theater he hoped would achieve this goal. Its basic aim was to educate its audience by forcing them to view the action of the play critically, from a detached, "alienated," point of view, rather than allow them to become emotionally involved. Coleridge's famous "willing suspension of disbelief," where the audience switched off its critical faculties in order to believe in the world of the play, had met its polar opposite.
Though his work was not always successful in this aim, Brecht devised several very famous techniques through which he could achieve a high level of critical detachment. These included placards that summarized the plot of the scene before the scene itself was played out. This technique decreases anticipation and tension, and it renders the plot inevitable. The songs were sung half in character and half out of character, which helps to comment dryly on the events of the play. The sets were spare and cold, using a minimum of stage furniture. In these circumstances, the audience can focus more easily on why the events happen and on what message is being conveyed.It also is significant that Brecht asked his actors to play his characters with a permanent degree of critical awareness. He wanted an attitude to rather than an immersion in the character being played, and he demanded that the actors--as well he might, considering that plays like Mother Courage and Her Children include songs--be constantly aware of how they were playing their parts. Not only that, but Brecht also asked his actors to make clear that one choice was being made in favor to another. He often wrote dialogue accordingly. See, for example, the peasants' justification of their failure to act in Scene Eleven of Mother Courage and Her Children.
The purpose of the theater thus was not to imitate life but to educate the audience. Brecht wrote that there was "no more noble aim for any theater."
In Epic theatre , the presentation of ideas was central. It used unconventional devices, such as the chorus, placards, narration, film and music to create a theatre emphasising a response of thought rather than emotion. Its most notable exponent was Bertolt Brecht, best known for “Mother courage and her children”.
To encourage the audience to adopt a more critical attitude to what was happening in the stage, Bretch developed the “alienation effect”. The alienation effect consists in the use of anti-illusive techniques to remind the spectators that they are in the theatre watching an illusion of reality. Such techniques includes flooding the stage with harsh white light, regardless of where the action was taking place, and leaving the stage lamps in full view of the audience; making use of minimal props and indicative scenery, intentionally interrupting the action at key junctures with songs in order to drive home an important point or message; and projecting explanatory captions onto a screen or employing placards. From his actors Brecth demanded not realism and identification with the role but an objective style of playing, to become in a sense detached observers.
Mother Courage and Her Children
Synopsis
The play is set in the 1600s in Europe during the Thirty Years' War. The Recruiting Officer and Sergeant are introduced, both complaining about the difficulty of recruiting soldiers to the war. A canteen woman named Mother Courage enters pulling a cart that she uses to trade with soldiers and make profits from the war. She has three children, Eilif, Kattrin, and Swiss Cheese. The sergeant negotiates a deal with Mother Courage while Eilif is led off by the recruiting officer. One of her children is now gone.
Two years from then, Mother Courage argues with a Protestant General's cook over a capon, or chicken. At the same time, Eilif is congratulated by the General for killing peasants and slaughtering their cattle. Eilif and his mother sing "The Song of the Girl and the Soldier." Mother Courage scolds her son for taking risks that could have got him killed and slaps him across the face.
Three years later, Swiss Cheese works as an army paymaster. The camp prostitute, Yvette Pottier, sings "The Fraternization Song." Mother Courage uses this song to warn Kattrin about involving herself with soldiers. Before the Catholic troops arrive, the Cook and Chaplain bring a message from Eilif. Swiss Cheese hides the regiment's paybox. Mother Courage & co. hurriedly switch their insignia from Protestant to Catholic. Swiss Cheese is captured by the Catholics while attempting to return the paybox to his General. Mother Courage deals her cart to get money to try and barter with the soldiers to free her son. Swiss Cheese is shot anyway. To acknowledge the body could be fatal, so Mother Courage does not acknowledge it and it is thrown into a pit.
Later, Mother Courage waits outside of the General's tent in order to register a complaint and sings the "Song of Great Capitulation" to a young soldier waiting for the General as well. The soldier is angry that he has not been paid and also wishes to complain. The song persuades the soldier that complaining would be unwise, and Mother Courage (reaching the same conclusion) decides she also does not want to complain.
When Catholic General Tilly's funeral approaches, Mother Courage discusses with the Chaplain about whether the war will continue. The Chaplain then suggests to Mother Courage that she marry him, but she rejects his proposal. Mother Courage curses the war because she finds Kattrin disfigured after collecting more merchandise.
At some point about here Mother Courage is again following the Protestant army.
Two peasants wake Mother Courage up and try to sell merchandise to her while they find out that peace has broken out. The Cook appears and creates an argument between Mother Courage and the Chaplain. Mother Courage departs for the town while Eilif enters, dragged in by soldiers. Eilif is executed for killing peasants but his mother never finds out. When the war begins again, the Cook and Mother Courage start their own business.
The seventeenth year of the war marks a point where there is no food and no supplies. The Cook inherits an inn in Utrecht and suggests to Mother Courage that she operate it with him, but he refuses to harbour Kattrin. It is a very small inn. Mother Courage will not leave her daughter and they part ways with the Cook. Mother Courage and Kattrin pull the wagon by themselves.
The Catholic army attacks the small Protestant town of Halle while Mother Courage is away from town, trading. Kattrin is woken up by a search party that is taking peasants as guides. Kattrin fetches a drum from the cart, climbs onto the roof, and beats it in an attempt to awake the townspeople. Though the soldiers shoot Kattrin, she succeeds in waking up the town.
Early in the morning, Mother Courage sings to her daughter's corpse, has the peasants bury her and hitches herself to the cart. The cart rolls lighter now because there are no more children and very little merchandise left.
Themes
1-War and Peace
Mother Courage and Her Children takes place during the Thirty Years’ War, a religious war (Catholic versus Protestant) which ravaged Europe in the seventeenth century (1618-48). Every event, attitude, and emotion felt in this play is affected by the circumstances of war. Mother Courage’s livelihood is based on a canteen wagon through which she sells food and various goods to soldiers. She and her children pull the wagon, following the Swedish regiments to wherever the war takes them.
Each of Mother Courage’s children suffer the consequences of war and are eventually destroyed by it. Eilif is recruited when soldiers are needed for the Swedish Protestant army. He becomes a brutal soldier, losing his humanity, his sense of right and wrong, and, ultimately his life. Swiss Cheese joins the same army as a paymaster for a Protestant regiment — he takes the clerical position so that he will not have to fight in the war. Still, his position leads to his death. Kattrin loses her life when she tries to warn a town of a surprise attack by Catholics.
Other characters’ lives are also affected profoundly by war. Yvette became a camp follower when her soldier boyfriend abandoned her. She started following regiments looking for him and eventually became a prostitute to support herself. Numerous common folk are depicted throughout the play, many of whom see their homes and land destroyed by the fighting.
Despite the loss of her children to the war, Mother Courage does quite well financially. Though business does go bad several times — notably during a short peace — Mother Courage survives every calamity that befalls her. Eilif is not so lucky. He attacks peasants and steals cattle during wartime and is considered a hero. He does the same thing during the short peace — though he does not know there is a truce — and is arrested. By the end of the play, Mother Courage has to pull the canteen wagon by herself, but her business drive motivates her to persevere. She has to survive. Through his protagonist’s actions, Brecht shows war as a never-ending commercial opportunity, but he also highlights its affects on the common man and woman. He shows peace being less prosperous, a state in which finances are less assured.
2-Choices and Consequences: Commerce Versus Family
Though Mother Courage runs her canteen to support herself and her children, she often makes choices that put her commerce before her family. Each of her children are adversely affected while she is brokering business deals: Eilif is recruited by the Swedish army officer while Mother Courage tries to sell a belt buckle; Swiss Cheese is executed by the Catholics while she haggles over the price of his ransom; Kattrin dies while Mother Courage is in town buying goods.
Mother Courage also makes choices in support of her children, however, especial ly Kattrin. The Cook likes Mother Courage and travels with the canteen briefly; he asks her to run an inn with him. Mother Courage eagerly accepts, telling Kattrin that she will finally fulfill the many promises she has made to her mute daughter. Yet when she learns that Kattrin is unwelcome at the inn, Mother Courage refuses to go and abandons the Cook by the side of the road. Ultimately, Mother Courage is capable of doing right by her children but not at the expense of her business.
3-Silence and Dumbness
Kattrin's dumbness is deeply symbolic. That is, real virtue and goodness are silenced in the time of war. Brecht even makes clear that Kattrin's dumbness is due directly to the war: "a soldier stuck something in her mouth when she was small." The play itself deals similarly with several significant silences: Mother Courage's refusal to complain after the Song of the Great Capitulation, the chaplain's denial of his own faith when the Catholics arrive in Scene 3 ("All good Catholics here!"), and the way Mother Courage denies her own son at the end of the scene, first in life and then in death. Weigel's silent scream at the end of this scene is itself an emblem of how war neuters human response.
An antithesis to dumbness is eloquence, and Kattrin's death (itself conducted through loud noises, and answered by the noises from the town after she has died) is perhaps the single most eloquent act in the play.
4-War as Capitalism
Brecht was a lifelong socialist. After the First World War, the idea began to become more popular that war was often associated with financial gain. From this point of view, Brecht's purpose in writing the play was to show that in wartime "you need a big pair of scissors in order to get your cut." War, as the play portrays it, is itself a capitalist system designed to make profit for just a few players, and it is perpetuated for that purpose.
Therefore, despite the fact that she is constantly trying to make profit from it, Mother Courage is destined to lose by trading during the war; only the fat cats at the top of the system have a real chance of profiting from it. People in this play are always looking to get their cut, large or small, and it is no accident that the original text repeats the verb kriegen, to "wage"--that is, to wage war (Krieg), but also meaning to "get" or "acquire."
Key scenes to analyze in writing about this theme: Scenes 1, 3, and 7.
5-Courage
"Parachutists are dropped like bombs," Brecht once wrote, "and bombs do not need courage. Real courage would be refusing to get into the plane in the first place." This idea points toward the remarkable irony with which Mother Courage's nickname is imbued. That is, the play suggests that her courage is as questionable as her motherhood. She gets her nickname from driving loaves through the bombardment of Riga before they become too moldy (see Scene 1), but this might be rashness rather than true courage. Moreover, in light of Brecht's lines above, real courageousness seems to involve opting out of the war and its capitalism altogether, something Mother Courage never does, although it is hard to see her alternatives as one of the "little people."
Mother Courage herself seems to see this idea: real courage requires persistence enough to make a significant, life-threatening change, as Kattrin does at the end of Scene 11. Consider when Mother Courage advises the young soldier about the Great Capitulation in Scene 4--but this insight does not survive with her to the end of the play.
Key scenes to analyze in writing about this theme: Scenes 1, 2, 4, and 11.
6-Maternity
Against Mother Courage—a mother who fails to protect her children—the play places Kattrin. Her kindness involves an impulse to mother in opposition to her mother's coldhearted business sense. As the Model Book notes, if Courage's war spoils consist of the loot she can scavenge, Kattrin's are the children she saves. Notably, her heroic intervention—one that breaks her stony silence—is the salvation of the children of Halle.
The Technique
Mother Courage and Her Children is a prime example of Brecht’s concept of Epic Theater. Instead of following a traditional Aristotelian model of theater, which calls for directly linked action and an emotional climax at the end of the play, Brecht constructs the play more like an epic poem. Each scene is only loosely linked, though there is something of a plot. The play also has an ambiguous, open ending; it is not clear where the remaining years of the war will take Mother Courage. Further, Brecht tries to distance the audience from the action of the play with what he calls alienation effects. He does this to limit the audience’s emotional involvement with the play and its characters. This distancing is performed in the hopes that the viewer can concentrate on the meaning of the action and its inherent social criticism.
These ideas take several forms in Mother Courage. Before each scene, a summary of the events to come are projected to the audience. Thus, they know what will happen and can focus on the meaning of the action. Most every action that could provoke an emotional response — the execution of Swiss Cheese, for example — is not shown onstage, and its emotional aftermath — the grieving — is never shown. Such choices direct the audience’s attention to Brecht’s intellectual antiwar message. There are also songs that emphasize the themes of the play while undercutting its reality by interrupting the action. Black comedic elements, especially in the dialogue of Mother Courage, add to the dramatic tension, being intellectual rather than emotional in nature.
Characters
1-Mother Courage
Mother Courage is, to borrow a phrase from Walter Benjamin, the play's "untragic heroine." A parasite of the war, she follows the armies of the Thirty Years War, supporting herself and her children with her canteen wagon. She remains opportunistically fixed on her survival, winning her name when hauling a cartful of bread through a city under bombardment. Courage works tirelessly, relentlessly haggling, dealing, and celebrating the war as her breadwinner in her times of prosperity. As Eilif's song suggests, she is the play's wise woman, delivering shrewd commentary on the war throughout the play. For example, the defeats for the great are often victories for the small, the celebration of the soldier's bravery indicates a faltering campaign, the leader pins his failings on his underlings, and the poor require courage. She understands that virtues in wartime become fatal to their possessors. Courage will ironically see her children's deaths from the outset, foretelling their fates in Scene One.
Courage's Solomon-like wisdom does not enable her to oppose the war. The price the war will exact for Courage's livelihood is her children, each of which she will lose while doing business. Though Courage would protect them fiercely—in some sense murderously insisting that her children and her children alone come through the war.
Again, her courage is her will to survive; a will that often requires her cowardice. Unlike Kattrin, Courage will sing the song of capitulation. For example, in Scene Four, she depravedly teaches a soldier to submit to unjust authority and then bitterly learns from her song herself, withdrawing a complaint she planned to lodge herself. In the scene previous, she refuses to recognize the corpse of her executed son, consigning it to the carrion pit. Kattrin's death will not incite her to revolt. Instead, she will resume her journey with the wagon, in some sensed damned to her labor for eternity. As Brecht notes programmatically in the Courage Model Book, Courage, understandably bent on her survival, does not learn, failing to understand that no sacrifice is too great to stop war.
2-Kattrin
Courage's dumb daughter, Kattrin distinguishes herself as the character who most obviously suffers from the traumas of war. She wears these traumas on her body, since the war robs her of her voice as a child and later leaves her disfigured. Throughout most of the play, she figures as the war's helpless witness, unable to save her brother Eilif from recruitment or Swiss Cheese from the Catholic spies. Later, she will stand by Courage when she refuses to identify Swiss Cheese's body. As Courage continually notes, Kattrin suffers the virtues of kindness and pity, remaining unable to brook the loss of life around her. This kindness manifests itself in particular with regard to children, Kattrin's maternal impulses perhaps standing against Courage's relentless dealing and her resulting failure to protect her children. Ultimately Kattrin will "speak," sacrificing herself to save the children of Halle, and it is appropriate that the play implicitly compares her to the martyr Saint Martin.
The war in particular impinges on Kattrin's sexuality. As Courage notes, she is ever in danger of becoming a "whore"—that is, a victim of rape—and thus must lie low and wait for peacetime before considering marriage. Privately Kattrin will "play the whore" in a sense in her masquerade as Yvette, the camp prostitute, in a bid for sexual recognition. Notably, her disfigurement will ultimately make her marriage impossible.
3-The Chaplain
One of two characters dependent on Mother Courage as their "feedbag," the Chaplain initially appears as a cynical, wooden character. He remains loyal to the Swedish monarchy and the campaign as a war of religion though cannot but notice the horrors around him, for example, his reaction to Eilif's raid. This cynicism reaches its height after the surprise attack by the Catholics, which rips him from his social station and leaves him precariously dependent on Courage's wagon. Bitterly, the Chaplain will advise Courage to buy new supplies. The war can only prevail. After all, though degrading, it provides for all base human needs—eating, drinking, screwing, and sleeping. Like love, it will always find a way to go on.
The Chaplain also reveals more sympathetic qualities, particularly when he defies Courage and attempts to save the local peasants at the Battle of Magdeburg. To this point, he appears as a sort of outsider, refraining from intervening in Courage's practices for fear of jeopardizing his position. At Magdeburg, the Model Book shows him recalling a sense of his former importance and understanding himself as someone oppressed by the war. Indeed, as he will tell the Cook, his life as a tramp makes it impossible to return to the priesthood and all its attendant beliefs.
Eventually the Chaplain falls for Courage. Focused on survival, she denies him, refusing his demands that she drop her defenses and let her heart speak. The arrival of the Cook will spark a rivalry over both Courage's affections and bread. When both men believe that Courage has rejected them, they reminisce about the good times they shared together in the service of the Swedish Commander. Apparently, like Courage, they have learned little from their suffering during the war.
4-Eilif Noyocki
Eilif is Mother Courage’s eldest son and the result of her union with an intelligent soldier. Protective of his mother, he is a hotheaded young man who is sure of his prowess with firearms and knives. He is recruited by Swedish officers at the beginning of the play to fight on the side of the Protestants. When Mother Courage sees him again several years later, he is regarded as a hero for a successful attack he has led. He stole a large number of cattle from a group of peasants. Several scenes and years later, a temporary peace has been achieved, and Eilif is arrested for stealing cattle. It is implied that he is executed for the crime, but the actual act is not shown.
Eilif’s story is a prime example of Brecht’s hatred of war. His rise and fall are used as an example to illustrate the playwright’s belief that war creates confused values and a skewed reality. When Eilif steals the herd of cattle during wartime, he is hailed as a hero. Yet when a peace comes, he is arrested and executed for that very act.
5-Swiss Cheese
Swiss Cheese is Mother Courage’s younger boy. He is the son of a Swiss military engineer who was also a drunkard. Like his brother Eilif, Swiss Cheese is protective of his mother, but, unlike his ruthless brother, he is a more sensitive, honest person. His mother says that he is simple and good at pulling wagons. After Eilif is recruited into the army, Swiss Cheese works as a paymaster for the Swedish Second Regiment. During an attack by the Catholics, he tries to protect the cashbox by hiding it, first in the canteen and then in a mole hole by the river. He is caught by two Catholic officers. When the officers bring him by, Swiss Cheese pretends like he does not know Mother Courage, hoping to protect both himself and his family. He is later executed while his mother haggles over the price of his ransom. When his body is brought to her for identification, she claims to not know him. Swiss Cheese is buried in an anonymous mass grave.
