The Play
The plot of The Good Woman of Setzuan winds through a prologue, ten scenes with numerous interludes separating them, and an epilogue. The action centers on the desire of Shen Te to be good and the impossibility of living up to that standard in society as it is presently configured. She has a small amount of money, which she must use to help herself and those around her to a better life if she is to be good. She discovers very quickly, however, that in order to survive she must invent a tough cousin, a formidable businessman, to protect her interests. Thus throughout the play she alternates between two roles: As herself, she is the gentle, generous, sweet Shen Te, but when she must meet business crises head-on, she assumes the identity of a man, the harsh and sometimes vicious Shui Ta.
In the prologue, Wang, the water seller, speaks directly to the audience, explaining that he is waiting to greet the gods, who are secretly searching for a good person to help end the horrible poverty and the intense drought that plague the province. Wang easily recognizes the gods—they are well fed and well dressed compared to the poor citizens of Setzuan. Wang hopes to find lodging for the gods but is turned away from the homes of all the wealthy. He shelters them in the home of Shen Te, a prostitute. In the morning, as they prepare to depart, certain that they have found a good person in Shen Te, the gods give her one thousand silver dollars, with the proviso that she must remain good. Shen Te uses the gift of the gods to buy a tobacco shop, turning away from her previous profession. However, as claim after claim is made on her food, shelter, and money, she recognizes that she will be able to save no one if she herself does not survive.
As the second scene begins, Shui Ta introduces himself as Shen Te’s cousin. He makes friends with the local police, rids the shop of a family of eight who have moved in, cheats the carpenter of his shelves, and rents the shop space on less stringent terms than those proposed by Mrs. Mi Tzu in the first scene. With a tough business approach, it seems, the shop and Shen Te will survive.
As scene 3 begins, Shen Te hurries to a teahouse to meet a rich man who might marry her at Shui Ta’s request. She interrupts Yang Sun’s attempt to hang himself out of despair over not being able to ply his trade as an airplane pilot. She falls in love with Sun and forgets the meeting with the old man in the teahouse who could save her shop.
In a dream, Wang sees the gods. Shen Te is as good as ever, but Shui Ta’s cheating of the carpenter besmirches her reputation; the gods are discouraged by this imperfection. Their physical condition is deteriorating. Their search is leading them to more contact with the misery of the human condition.
Outside Shen Te’s shop at dawn, the hungry people who depend on her rice await her return. There is an altercation between Wang and the wealthy barber, Shu Fu. The barber breaks Wang’s hand. Shen Te arrives, glowing with the joy of her night’s encounter with Yang Sun and happy to give rice to the hungry. The carpet dealer and his wife recognize the look of one in love. They ask if she met the man at the teahouse. Shen Te realizes that she has forgotten about paying the rent in the...
(This entire section contains 1443 words.)
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flush of romantic love. The old couple happily loan her all they have, two hundred silver dollars, to pay her rent. Moments later, Shen Te impulsively and lovingly turns this money over to Yang Sun’s mother to help him get a pilot’s job. She also promises to testify for Wang that she saw Shu Fu break his hand.
In an interlude, Shen Te appears, carrying the clothing and mask of Shui Ta. Before the eyes of the audience, she becomes Shui Ta. Yang Sun meets Shui Ta in the fifth scene. Sun reveals that he is not in love with Shen Te but is only using her. Mrs. Mi Tzu arrives to collect the rent. Sun, who needs three hundred dollars more to get the pilot’s job in Peking, offers to sell Shen Te’s shop to Mrs. Mi Tzu for that amount. The deal will be sealed in two days. Wang enters to have Shen Te help him file his suit against Shu Fu, but Shui Ta refuses to let Shen Te perjure herself. Shu Fu offers to allow Shen Te to continue her good deeds through marriage to him; he will make his houses behind the cattle yard available to her to shelter the poor. Yang Sun returns. Shen Te appears and chooses Sun, rather than accept Shu Fu’s offer.
On the way to her wedding, Shen Te tells the audience that the wife of the carpet dealer needs the two hundred silver dollars back because her husband is gravely ill. The wedding never takes place, because Yang Sun first wants possession of the three hundred silver dollars. Shui Ta never brings the money.
As scene 7 begins, Shen Te is preparing to move away in ruin. Shu Fu brings her a blank check to save her business. However, owing to her love for Yang Sun, she refuses to take advantage of Shu Fu’s generosity. She also discovers that she is carrying Sun’s child. Reversing herself, Shen Te commits herself to Shu Fu by promising to find shelter for the whole Lin family in his houses. She gives all of her possessions to Wang so that he can receive medical care for his hand. Members of the family of eight show up with three bales of tobacco, which they ask Shen Te to hide for them. Shen Te realizes that she must save her own unborn child, so she calls upon Shui Ta once again. He uses Shu Fu’s blank check and commandeers the bales of tobacco. He announces that only those who work will be fed, and that the barber’s houses are not available for living because they will become the location of a tobacco factory.
The gods appear to Wang in the interlude. They are suffering terribly from their earthly sojourn. Wang tells them of a dream of seeing Shen Te almost drowning as she tries to cross a river with a heavy load of moral precepts on her back.
Scene 8 is set in Shui Ta’s tobacco factory. Mrs. Yang narrates the rise of Yang Sun in Shui Ta’s business. He ingratiates himself to owner Shui Ta and rises to become foreman in just a few months by cheating and brutalizing his fellow workers.
By scene 9, Shui Ta has grown fat. The neighbors think that it is caused by prosperity and complacency, but the audience knows that it is Shen Te’s pregnancy. Wang the water seller stops outside the shop and cries out for Shen Te and her goodness. Sun hears from Wang that Shen Te is pregnant and assumes that it is his child. Sun also hears weeping from the back room, yet only Shui Ta emerges. The police are called, Shen Te’s clothes are found, and Shui Ta is arrested for the murder of his kind cousin.
The gods are almost finished as they appear to Wang in the interlude. They recognize that their moral precepts may make it impossible for people to live. They vanish quickly. The final scene of the play is the trial of Shui Ta for the murder of his cousin. The gods will serve as judges. Shui Ta promises to make a confession if the courtoom is cleared. He strips off his costume and Shen Te stands before the judges. She explains that she could not be good and still survive, especially when she had to think about the future of her unborn child. The gods shut off her discussion of the predicament of humankind. They are overjoyed to have found their good person again and quickly depart for heaven now that their work is done. As they leave on their pink cloud, they ignore her cries for help.
The epilogue is a kind of tongue-in-cheek summary of the action. The audience is challenged to find a solution to Shen Te’s dilemma in spite of the contradiction between the way society is structured and the domination of the moral precepts of the gods.
Dramatic Devices
The Good Woman of Setzuan has an episodic structure that allows the playwright to establish the problems of poverty and generosity and then depict them in different ways. Each restatement of the problems is accompanied by a raising of the stakes—first it is just a night’s business Shen Te will lose, then her shop, then someone else’s shop, then the future of her child. Each time, Shui Ta finds some solution to save Shen Te through cold-hearted business tactics. The loose episodes, with the counterbalancing effects of the two sides of the character, lead to an alternation between the scenes of Shen Te and Shui Ta, until in scene 10 they both make appearances.
The episodic structure also allows for the interludes, which interrupt the development of the plot. In one, the audience sees Shen Te transform herself into Shui Ta; the effect is reminiscent of the Chinese theatrical convention in which characters change costume and become other characters before the eyes of the audience. In many interludes, Wang talks with the gods about Shen Te’s tenacity in goodness or about the problems of being good. In each, the audience sees that the gods are deteriorating as a result of their contact with the real world of human problems. Their clothes become more and more ragged, they look increasingly haggard and travel worn, and intervention in human disputes earns one a black eye and another a crippled leg from the jaws of a trap. This is a strong visual statement that human problems must be solved by humans—gods are incapable of doing so.
The plot of the play is frequently interrupted by songs, poems, or characters speaking directly to the audience. The songs and poems are used to focus the attention of the audience on specific and critical philosophical issues. Shen Te sings “The Song of the Defenselessness of the Gods and the Good People,” in which she questions why evil exists at all and why, if the gods are so powerful, they do not wage war against evil and win. The song forces the audience to consider that evil is not otherworldly, but purely human in its source, just as goodness is a purely human virtue.
Characters who speak directly to the audience confront the playgoers with the social and political messages of the play. They also narrate action that is about to take place, telling the audience what to expect. This telling all in advance encourages the audience to, rather than watching the play to see what happens, watch to see why and how things happen. This device renders audiences capable of solving the problems rather than simply accepting their presence in the human condition. For example, Mrs. Yang tells the audience that her son, Yang Sun, has risen high in Shui Ta’s tobacco factory through a little bit of luck and hard work. Then she narrates each of the events that led to Sun becoming the foreman. As she does so, the scenes are enacted, complete with dialogue. The audience watches Sun make a coworker look lazy, a paymaster seem dishonest, and the assembly line workers appear incompetent until he takes over as their taskmaster. The spectator sees how he does this and understands that it is for his own advancement at the expense of others. There is no suspense over whether he will succeed, because his mother has already revealed that he does.
Bertolt Brecht sprinkles the play with tales and anecdotes that contribute to the sense of the exotic. They also provide an opportunity to preach directly to the audience. The spectator sees the contradictions inherent in accepted notions of good and evil in human behavior in Wang’s tale of the trees who pay the penalty for usefulness by being chopped down in their prime instead of being able to live to a ripe age.
Historical Context
World War II (1939–1945) devastated Europe and significantly impacted life in the United States. Nazi Germany, under the leadership of Adolf Hitler, pursued a campaign of European conquest. Even before the war began in 1939, many individuals, including Brecht and his family, who opposed Hitler's political views, became refugees, fleeing to escape persecution or death. As Germany invaded numerous European countries, the number of refugees increased. Those who remained behind faced severe hardships. Economic infrastructures were disrupted, leading to widespread poverty and uncertainty. Many, especially those of Slavic descent, were forced into labor due to Nazi beliefs in racial superiority.
In the summer of 1940, the United States started supporting Great Britain with military supplies. The Lend-Lease Act of 1941 granted President Franklin Delano Roosevelt the power to supply Britain, China, and the U.S.S.R. with defense materials and information, with costs to be settled later. The United States officially joined the war on the Allies' side, including Great Britain, in late 1941 after Japan, an ally of Germany, attacked Pearl Harbor. By mid-1942, the Allies had begun to shift the war's momentum, and by 1943, they were making significant advances against the Germans. Much of that year was spent reclaiming territories occupied by Germany, such as Sicily and parts of southern Italy.
While Europe suffered, the war demands also transformed life in the United States. The Great Depression of the 1930s ended as factories shifted to war production. By 1943, some Depression-era policies were challenged by Congress. Republicans questioned the New Deal, and the WPA was terminated, as the war effort created numerous jobs and maximized resource use. Employment opportunities became more abundant. To support the war, women began taking on jobs traditionally considered "men's work" in factories and also served in the armed forces. This shift changed societal views on work and led to improved educational opportunities for women, including more co-educational colleges.
Despite the abundance of jobs, workers were discontented in 1943 for several reasons. Rising prices led to demands for higher wages. Although the federal government attempted to control inflation, rationing of everyday items remained a reality. There were also numerous labor strikes, particularly in the mining industry, along with strike threats and labor-related riots. Congress eventually banned strikes in industries critical to the war effort.
China endured significant hardship during World War II, even though it was not directly involved in the broader conflict for the most part. The country had been engaged in a war with Japan since 1937, following Japan's conquest of Manchuria in 1932. However, China did not officially declare war on Japan until late 1941.
Japan successfully occupied several regions of China, compelling the ruling Nationalist government to relocate to different cities. Additionally, China faced internal turmoil between the Nationalists and the emerging Communists, led by Mao Zedong (Mao Tse-Tung). The Communists waged a guerilla war against the Japanese while simultaneously clashing with the Nationalists.
After the United States declared war on Japan in 1941, China and the United States became allies. Despite this alliance, Japan continued to achieve victories in the Far East for some time. The conflict in China resulted in a severe refugee crisis, reminiscent of the situation in Europe. Those most affected by the war, particularly from eastern and central China, were forced to flee westward. These dire circumstances might have led Brecht to ponder whether goodness could truly exist in such a world.
Literary Style
SettingThe Good Person of Szechwan is set in the capital city of the Szechwan province in China. The play's time period is unspecified, as it serves as a parable—a story meant to impart a lesson. Although there are few distinctly Chinese elements, Brecht chose this setting to incorporate various aspects of Chinese theater. The action predominantly takes place in a poor section of the city, including the streets and the vicinity of Shen Teh’s tobacco shop. Many interludes occur where Wang sleeps: beneath a bridge by a dried-up river. Here, the gods appear to him in dreams. The final scene unfolds in a courtroom, where the gods judge Shui Ta but reach no definitive conclusion.
Songs/Verse
Almost every significant character in The Good Person of Szechwan
performs a song or recites verse that could be sung. Brecht uses these moments
to infuse his philosophical ideas into the narrative and to reveal more about
the characters. For instance, ‘‘The Song of the Smoke’’ is sung by an elderly
couple and their family, who impose themselves on Shen Teh in the first scene.
The song conveys their life's bitterness while making a broader political
statement. Brecht achieves similar objectives with songs like Wang’s ‘‘The
Water-Seller’s Song in the Rain’’ and Shen Teh’s ‘‘The Song of the
Defencelessness of the Gods and the Good People.’’ Shen Teh, in particular,
comments on the action and reveals more about herself in casual moments of
verse.
Monologues/Characters Directly Addressing the
Audience
Some songs in The Good Person of Szechwan directly address the audience,
especially Shen Teh’s ‘‘Song of the Defencelessness of the Good and the Gods.’’
Additionally, there are several instances where actors speak directly to the
viewers. During these moments, the audience is informed about upcoming events
and the characters’ feelings toward them. These instances also highlight the
play's themes and provide Brecht with a platform to express his political,
philosophical, and social ideas. In scene five, Shu Fu asks the audience for
their opinion on his method of trying to win Shen Teh’s love. Initially, he
intends to discuss ideas with her, hoping she will fall in love with him. Scene
eight features multiple monologues. Mrs. Yang narrates how Shui Ta saved her
son by giving him a job and helping him flourish. As she speaks, the entire
story is acted out; she first tells the audience what happens, then steps back
into the action as it unfolds.
The most significant monologues in The Good Person of Szechwan occur at the very start and conclusion of the play. It begins with a prologue where Wang introduces some fundamental aspects of the story. He waits eagerly for the arrival of the three gods, aiming to be the first to greet them in the city. Upon their arrival, his monologue ceases. In the epilogue, an actor steps forward in front of the curtain and apologizes to the audience for the lack of a neatly wrapped-up ending. Brecht uses this moment to provoke the audience to think, rather than just to entertain them.
Compare and Contrast
1943: In the United States, tobacco cigarettes are marketed as beneficial to health.
Today: Tobacco companies face lawsuits for deceptive advertising, as court proceedings have revealed they were aware for decades that cigarettes cause cancer.
1943: Women's fertility in China is not regulated. In many rural regions, women often have large families to provide labor for farming.
Today: To manage the booming population, the Chinese government has imposed a one-child policy per woman. However, rural residents can request permission to have a second child if the firstborn is a girl.
1943: Approximately one-third of women aged 18 to 64 in the United States are employed in war-related jobs. Many take on roles traditionally deemed as "men’s work," but are compelled to relinquish these positions to returning soldiers after the war concludes.
Today: Many American women work in nearly every field that was once considered male-dominated. Nonetheless, a glass ceiling in various business sectors still hinders women's advancement to the highest executive roles.
1943: Nazi Germany exploits millions of prisoners of war and laborers from occupied nations as forced labor to support their war efforts.
Today: Companies like Nike are criticized for using inexpensive, sweatshop-like labor in Asia and South America, a practice many view as akin to modern-day slavery.
Bibliography and Further Reading
SOURCES
Atkinson, Brooks. "Brecht Play Is Staged by Eric Bentley," The New York
Times, December 19, 1956, p. 41.
Barnes, Clive. "The Theater: Brecht’s Good Woman," The New York Times, November 6, 1970, p. 51.
Braunagel, Don. Review of The Good Person of Szechwan, in Variety, August 8, 1994.
Brecht, Bertolt. The Good Person of Szechwan: A Parable Play, translated by John Willett, Arcade Publishing, 1955.
Driver, Tom F. "Over the Edge," The Christian Century, January 30, 1957, p. 138.
Fuegi, John. The Essential Brecht, Hennessey & Ingalls, 1972, p. 133.
Hatch, Robert. Review of The Good Person of Szechwan, in The Nation, January 5, 1957, p. 27.
Hewes, Henry. "Trying to Like Eric Bentley," Saturday Review, January 5, 1957, p. 24.
Kauffmann, Stanley. Review of The Good Person of Szechwan, in The New Republic, March 13, 1976, p. 28.
Kerr, Walter. "Will Brecht Ever Come True?," The New York Times, November 15, 1970, section 2, p. 1.
Robinson, Roderick. "Theater Emory Pulls off Brecht with Bit of Verve," The Atlanta Journal and Constitution, March 20, 1992, p. D2.
Winn, Steven. "Adding Szechuan to Shakespeare," The San Francisco Chronicle, March 2, 1999, p. E1.
FURTHER READING
Fuegi, John. "The Alienated Woman: Brecht’s The Good Person of
Szechwan," in Essays on Brecht: Theater and Politics, edited by
Siegfried Mews and Herbert Knust, The University of North Carolina Press, 1974,
pp. 190-96.
This essay examines the development of Brecht’s concepts in The Good Person
of Szechwan, focusing on the central female character, Shen Teh.
Kleber, Pia. Exceptions and Rules: Brecht, Planchon andThe Good
Person of Szechwan, Peter Lang, 1987.
This book explores Brecht’s impact on Roger Planchon, a French director and
playwright, including an analysis of his three distinct productions of The
Good Person of Szechwan.
Lyon, James K. Bertolt Brecht in America, Princeton University
Press, 1980.
This critical biography details Brecht’s period of exile in the United States,
during which he completed The Good Person of Szechwan.
Schoeps, Karl H. Bertolt Brecht, Frederick Ungar Publishing Co.,
1977, pp. 280-97.
This essay offers a summary, historical context, and critical analysis of
The Good Person of Szechwan.