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Bertolt BrechtA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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The three gods are on a mission to find out if there are good people in existence, thereby proving that they do not need to destroy the world. They discover Shen Te, who opens her home to them and gives everything that she has to anyone who needs it. Shen Te, however, is the only one they can find. On their journey, they learn that “when [they] do find halfway good people, they don’t live in a dignified, human way” (70). Similarly, Shen Te is a prostitute and does not begin to “live in a dignified, human way” (70) until the gods give her money in exchange for her hospitality. They pay her much more than a usual night’s rent, and that windfall—the gods’ intervention—allows her to change her circumstances. She invests that money wisely and becomes a shop owner. However, the gods do not make a practice of intervening in human affairs. They are largely ineffectual, judging from afar without aiding those they deem to be good.
Additionally, even with the financial influx, Shen Te’s goodness is unsustainable. Since, in order to remain good, she must be entirely selfless and giving, the people around her continually take everything she has. Because she was a prostitute, she cannot rent property based on her own credibility despite her goodness. The only way that Shen Te can preserve her goodness and her livelihood is to invent a separate person who can be shrewd and uncharitable. Shui Ta can refuse to help without sullying Shen Te’s goodness. Shen Te sees Shui Ta as her opposite, creating a dichotomy of goodness between those who love Shen Te and those who admire Shui Ta. Since Shen Te and Shui Ta are the same person, Shui Ta’s transgressions ought to be Shen Te’s as well. However, even the gods dismiss Shen Te’s actions as Shui Ta rather than admitting that goodness is an untenable quality among those who are desperate and hungry.
Considering that Brecht identified as a Marxist, it is unsurprising that his works represent capitalism as the root of all evil. The gods hold humans to standards that are impossible to meet while achieving financial stability. As Wang explains at the beginning, he is extremely poor because selling water is a difficult business: either it rains and no one buys, or it is dry and there is little water to sell. Therefore, he attempts to swindle his customers by using a cup with a false bottom, which immediately causes the gods to disqualify him as a good person. Since supply and demand dictates whether Wang earns enough money to feed himself, capitalism requires him to think creatively, and even dishonestly, to generate more income. In a capitalist system, the poor are bereft of food, shelter, and healthcare—as evidenced by Wang’s untreated hand injury and the carpet shop couple’s predicament when the old man falls ill. Their desperation breeds dishonesty and exploitation.
The gods expect Shen Te to share everything. She has to be a good person, and they also expect her to be a good, honest capitalist. They are particularly distraught when they discover that Lin To, the carpenter, has not received his full payment. The wealthy characters have also forfeited their goodness for the sake of financial gain. Mr. Shu Fu has a desire to help the poor, but when Wang threatens his business by attempting to sell water to his barbershop customers, Mr. Shu Fu breaks his hand. Mrs. Shin works her way to the top by betraying everyone along the way. Shui Ta, who creates a tobacco empire for the sake of Shen Te’s baby, may earn money and employ the masses, but he does so by withholding the aid that Shen Te was offering. Instead of charity, Shui Ta puts the people to work. They make money for Shen Te and her baby and in return, they earn a small amount to live on.
The desperation of poverty also turns love into a commodity. At the beginning of the play, Shen Te is a prostitute, selling sex to those who will pay so she can feed herself. When she meets Yang Sun, Sun offers his love in return for her financial help. And when Shen Te does not have enough money, he withdraws his love. Although Shen Te hopes to live at least a year without needing a man after buying the tobacco shop, when the tobacco shop is failing, Shui Ta begins to bargain away Shen Te’s love. He sets her up with a potential match—a widowed man with three children—who can help her financially. Then Shen Te meets Sun and must deal with the tension between love that she wants to give freely and the love that she would owe someone like Mr. Shu Fu should she accept his money. The play calls into question the nature of love and prostitution and the way the lines can blur between the two.
The German title of the play, Der gute Mensch von Sezuan is now frequently translated more precisely as The Good Person of Setzuan rather than The Good Woman of Setzuan, divorcing the concept of goodness from gender. However, it is easy to tie Shen Te’s goodness to her femininity. She takes on the role of the nurturer, feeding, housing, and caring for the people of the community. When she becomes pregnant, she gives up her identity as mother in the community to redirect her self-sacrifice toward her future child. As a woman, Shen Te is vulnerable. She cannot resist Yang Sun’s charms, and her pregnancy becomes a weakness. To protect herself, Shen Te must hide beneath the guise of a man. As a man, others perceive her pregnancy as only gained weight—a sign of prosperity. Shui Ta, unlike Shen Te, is emotionless and calculating. Those who would take advantage of Shen Te would not dare to attempt the same with Shui Ta. When Shen Te discovers that she is pregnant, she imagines a son, describing, “The world awaits him secretly. In the towns, people are saying: Someone’s coming now who’s got to be reckoned with” (72). While Shen Te might be soft, giving, and easy to exploit, her son will be different: a good person rather than a good woman. He will have all the power and privileges of maleness, but she will raise him under the influence of her goodness.
By Bertolt Brecht