More than any individual work, Bertolt Brecht is best remembered today for his revolutionary approach to theater, which he saw less as a form of entertainment than a political tool, a means to shape public opinion and eventually change the world. A conventional drama or comedy is supposed to give audiences a sense of connection with the characters throughout and a feeling of resolution at the end. But Brecht sought to do the opposite. By filling his plays with inconsistent and unexpected elements, like stage directions that give away what will happen in a scene and cheery-sounding songs about the brutality of war, Brecht hoped to leave his audiences uneasy and force them to think. (He called this the “estrangement effect” and his overall approach dialectical or epic theater.) Specifically, Brecht wanted audiences to connect the dots between his plays and the political, economic, and historical factors that shape their lives. This is why he addressed the urgent perils of Nazism and World War II by writing Mother Courage and Her Children, which focuses on a seemingly unrelated war in the 1600s. Namely, he wanted Germans to make the connection between a familiar, dark episode from their past and the clear and present danger the Nazi regime posed to Europe in 1939. Like Kattrin, who sacrifices her life to warn villagers of a coming massacre even though she cannot speak in a conventional way, Brecht uses unconventional tools—estrangement and historical analogy—to warn Germans of the devastation that they will both cause and suffer from during World War II.
Theater, Performance, and History ThemeTracker
Theater, Performance, and History Quotes in Mother Courage and Her Children
HERE’S MOTHER COURAGE AND HER WAGON!
HEY, CAPTAIN, LET THEM COME AND BUY!
BEER BY THE KEG! WINE BY THE FLAGON!
LET YOUR MEN DRINK BEFORE THEY DIE!
SABERS AND SWORDS ARE HARD TO SWALLOW:
FIRST YOU MUST GIVE THEM BEER TO DRINK.
THEN THEY CAN FACE WHAT IS TO FOLLOW—
BUT LET ‘EM SWIM BEFORE THEY SINK!
CHRISTIANS, AWAKE! THE WINTER’S GONE!
THE SNOWS DEPART, THE DEAD SLEEP ON.
AND THOUGH YOU MAY NOT LONG SURVIVE,
GET OUT OF BED AND LOOK ALIVE!
YOUR MEN WILL MARCH TILL THEY ARE DEAD, SIR,
BUT CANNOT FIGHT UNLESS THEY EAT.
THE BLOOD THEY SPILL FOR YOU IS RED, SIR,
WHAT FIRES THAT BLOOD IS MY RED MEAT.
FOR MEAT AND SOUP AND JAM AND JELLY
IN THIS OLD CART OF MINE ARE FOUND:
SO FILL THE HOLE UP IN YOUR BELLY
BEFORE YOU FILL ONE UNDERGROUND.
(She draws a knife.) Yes, just you try, and I’ll cut you down like dogs! We sell cloth, we sell ham, we are peaceful people!
Well, there’s yours, Eilif, my boy! (As EILIF takes the slip, she snatches it and holds it up.) See? A cross!
[…]
Take yours, Swiss Cheese. You should be a better bet—you’re my good boy. (SWISS CHEESE draws.) Don’t tell me it’s a cross? Is there no saving you either? Just look, Sergeant—a black cross!
[…]
(to KATTRIN) Now all I have left is you. You’re a cross in yourself but you have a kind heart. (She holds the helmet up but takes the slip herself.) Oh dear, there must be some mistake! Don’t be too kind, Kattrin, don’t be too kind—there’s a black cross in your path! So now you all know: be careful! Be very careful! (MOTHER COURAGE climbs on her wagon preparing to leave.)
When a war gives you all you earn
One day it may claim something in return!
MOTHER COURAGE. I must get you two something to drink, or you’ll be making improper advances out of sheer boredom.
CHAPLAIN. That is indeed a temptation—said the Court Chaplain as he gave way to it. And who is this captivating young person?
COOK. And King Gustavus liberated Poland from the Germans. Who could deny it? Then his appetite grew with eating, and he liberated Germany from the Germans. Made quite a profit on the deal, I’m told.
CHAPLAIN. That is a calumny! The Swedish king puts religion first!
MOTHER COURAGE. What’s more, you eat his bread.
COOK. I don’t eat his bread: I bake his bread.
MOTHER COURAGE. He’ll never be conquered, that man, and you know why? We all back him up—the little fellows like you and me. Oh yes, to hear the big fellows talk, they ‘re fighting for their beliefs and so on, but if you look into it, you find they’re not that silly: they do want to make a profit on the deal. So you and I back them up!
LIEUTENANT (pointing to the wagon on which KATTRIN has appeared). There’s another. (A SOLDIER pulls her out.) Is this everybody?
OLD PEASANT. That’s our son.
PEASANT WOMAN. And that’s a girl that can’t talk. Her mother’s in town buying up stocks because the shopkeepers are running away and selling cheap.
OLD PEASANT. They’re canteen people.
(KATTRIN, unperceived, has crept off to the wagon, has taken something out of it, put it under her skirt, and has climbed up the ladder to the roof.)
PEASANT WOMAN. Be mindful of the children in danger, especially the little ones, be mindful of the old folk who cannot move, and of all Christian souls, O Lord.
(The soldiers arrive with the gun.)
LIEUTENANT. Set it up! (Calling while the gun is set up on forks:) Once and for all, stop that drumming! (Still crying, KATTRIN is drumming as hard as she can.) Fire!
(The soldiers fire. KATTRIN is hit. She gives the drum another feeble beat or two, then collapses.)
LIEUTENANT. So that ends the noise.
(But the last beats of the drum are lost in the din of cannon from the town. Mingled with the thunder of cannon, alarm-bells are heard in the distance.)
FIRST SOLDIER. She made it.
LULLAY, LULLAY, WHAT’S THAT IN THE HAY?
THE NEIGHBOR’S KIDS CRY BUT MINE ARE GAY.
THE NEIGHBOR’S KIDS ARE DRESSED IN DIRT:
YOUR SILKS WERE CUT FROM AN ANGEL’S SKIRT.
THEY ARE ALL STARVING. YOU HAVE A CAKE
IF IT’S TOO STALE, YOU NEED BUT SPEAK.
LULLAY, LULLAY, WHAT’S RUSTLING THERE?
ONE LAD FELL IN POLAND. THE OTHER IS—WHERE?
OLD PEASANT. Have you no one left?
MOTHER COURAGE. Yes, my son Eilif.
OLD PEASANT. Find him then, leave her to us.
PEASANT WOMAN. We’ll give her a proper burial, you needn’t worry.
MOTHER COURAGE. Here’s a little money for the expenses. (She harnesses herself to the wagon.) I hope I can pull the wagon by myself. Yes, I’ll manage. There’s not much in it now. (The last regiment is heard passing.) Hey! Take me with you!