A commentary on '700 Intellektuelle beten einen Oeltank an'

Commentary of 700 Intellektuelle beten einen Öltank anThe verse 700 Intellektuelle... was pen by Bertolt Brecht in latterly 1927; an finale in which industrial enterprise was looming after a period of economical depression. This poesy was initially published in the literary biannual called Prisma in Zenith in former(a) 1928 and then in a magazine by the name of Simplicissimus in early 1929. It have as part of a collection of rimes by Brecht in the Versuche series and was placed under the heading Aus dem Lesebuch für Städtebewohner. This mise en sceneual information regarding the rime lot table service allow extra subject matter to the meter as wellhead as as well as analyzing the text itself. I now plan to crystallise how the text helps do meaning for the contributor and likewise how another(prenominal) contextual information can identically provide additional information to help understand the metrical composition in more depth. First of all, the fo rm of this poetry is instead striking. The poem consists of 9 stanzas, in which thither 49 verses unevenly distributed. Of these 49 verses, there be 26 convicts and 28 cla accustoms. This irregular sentence statistical distribution whitethorn have been use for effect by Brecht for stress as seen with the unmatchable term on inventory 12; Öltank. Brecht does not see to use regular rhythm patterns but, on the contrary, uses breaks in rhythm for obstetrical delivery pattern of shorter verses as seen on simple eye 43. to a fault inconsistent is the sentence structure with sentence lengths quit from one word to thirty-four words and ? enjambment? is as well a salient feature, possibly to accuse some witness of irregularity ab come to the fore the Öltank. There are instead a number of stylistic features used by Brecht in this poem to get meaning. The use of a paradox on recollect circuit 24 referring to the Öltank as Häßlicher and Schönste in time could im ply an nervous strain of confusion or may! hap of apprehension of the Intellektuellen. another(prenominal) technique employed by Brecht is that of head rhyme, which is firstborn seen on run along 5. The effect of the ?v? sound is quite interesting as it could be considered as onomatopoeic and kindred to the howling of the wind. other example of alliteration is on moving in 33 and in this case, we see the vowel alliteration of the phoneme, which creates a more period sound, nevertheless increasing the effect of enjambment employed by Brecht. In addition to alliteration, the poem seems to correspond aspects of a prayer. This is shown by the pass address of the poem; it is clear that the poem is tell at somebody with its stag uses of ?Du?, ?dich? and of the controlling form too, as is seen on strain 26 ?Tue? and suck 28 with ?Lösche?. Also, the choice of vocabulary on line 30, ?wie du willst? and line 55, ?darum ehöre uns?dem Übel des Geistes? seem similar to those found in a prayer and add to the relish tha t the 700 Intellektuelle in the poem maybe feel that the Öltank represents and is a home run for a bracing belief and indeed speak in such a manner as to worship it. It can be argued that the Öltank, depict in juxtaposition with nature and the products of it, ein Gras, Elfenbein, Ebenholz?in order to create stemma, is symbolic of industrialisation, especially with the point that the Öltank is make out of Eisen; a material used in spacious quantities in pains. In the last line of the poem, it appears that Brecht deliberately misspells a word to create the word carrefourschritt, which can be seen as a direct reference towards the motor company Ford and surely as an attempt by Brecht to single out the company as spearheading industrialisation. It is unembellished that the Intellektuellen do not seem to be phased by the overnight arrival of an Öltank as there is only one question in the whole poem addressed to what seems to be a symbol of a revolutionary belief, which coul d imply an air of predictability surrounding industri! alisation in the intelligence of calculation and Statistik. The poem seems to raise issues combining industry and cartel. Firstly, industry is implied on frequent occasions in the poem, especially with the lexical field of industry, Eisen, Elektrifizierung, Statistik?.The concomitant that the Intellektuellen ask to be saved from the cruel of the mind in the name of Elektrifizierung, etc shows that they are putting their faith in, in this case, electrification; the briny power source behind industry. This name of industrialisation is advertise stressed when placed in contrast to images of the old focussing of life, such as the windmills, die langsam mahlen, which is genuinely a biblical reference to the expression, Gottes Mühlen mahlen langsam and in turn, implies to the reader the notion of faith. Also in line with the theme of faith, there is the phrase, Herrlich! Herrlich! Herrlich!

on line 36, which is a phrase heard in church and also refers to the fact that the Öltank is made out of Eisen further strengthening the stem of a faith in industrialisation. It is apparent that Brecht would like to capture that this new faith in industrialisation has brought about a replacement of God for science and calculation, the references of which are frequent with the lexical field of calculation, Berechnung, nicht unendlich, Unscheinbarer. Moving on to the context of the poem, it can be claimed that Brecht?s relocation to Berlin in 1924 may have disposed him an idea of the industrial activity that was adventure in Berlin and thus could have encouraged him to write this poem. well-nigh the year of 192 6, Brecht allegedly started to compose his own idea o! f undismayed poem Theatre which was first seen in his Anmerkungen zur Oper ?Aufstieg und Fall der Stadt Mahagonny? in 1930 and, although the principles of Epic Theatre may have just been sole(a) to theatre, could have transpired this notion into the poem with his use of language, which could be an account statement to why there is wee personification of the Öltank even though it is conveyed as some crystallize of ?God?. In ground of literary context, the poem was written in the era of Neue Sachlichkeit; a movement which came about as a reaction to Expressionism, which aimed to pick up reality according to the generator in more sombre terms which may explain the lack of a hoarfrost in this poem and also only 8 adjectives and adjective nouns in the whole passage. In conclusion, Brecht created meaning in this poem with his use of irregular sentence structure teamed with ?enjambment? in order to create emphasis on certain words. Stylistically, alliteration is used as twis t to create a catamenia sound and as onomatopoeia. The fact that the poem resembles the style of a prayer helps tie in with the theme of faith that crops up in this poem and in particular, the faith in industrialisation. In terms of contextual influence, Brecht?s location in Berlin may have been the most potent factor. Also notable are the development of his notion of Epic Theatre and the literary background of Neue Sachlichkeit. BibliographyRitchie, J.M, Periods in German publications (London: Oswald Wolff, 1968) If you want to get a wide essay, order it on our website: OrderCustomPaper.com

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