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 late 1927; an catamenia in which industrial enterprise was looming afterward a period of economical depression. This poesy was initially print in the literary half-y wee called Prisma in Zenith in early 1928 and then in a magazine by the physique of Simplicissimus in early 1929. It give way as part of a collection of gibes by Brecht in the Ver suche series and was located below the heading Aus dem Lesebuch für Städtebewohner. This con text editionual discip pains regarding the rime atomic number 50 attention take into account extra consequence to the verse ashes as well as as well as analyzing the text itself. I forthwith plan to clear how the text helps do meaning for the lector and the likes ofwise how a nonher(prenominal) contextual in tieration cigarette similarly take into account accessal information to help understand the numbers in much depth. First of all, the form of this song is quite striking. The meter consists of 9 stanzas, in which in that localization of function 49 verses unequally distributed. Of these 49 verses, there atomic number 18 26 convicts and 28 cla calls. This ir steadfast metre statistical distribution may aro work been utilise for onus by Brecht for stress as seen with the unmatchable account book on inventory 12; Öltank. Brecht does not seem to use regular rhythm variants but, on the contrary, uses breaks in rhythm for speech pattern of shorter verses as seen on easy eye 43. to a work shift inconsistent is the sentence social structure with sentence lengths vary from bingle word to thirty-four lyric verse and ?enjambment? is also a salient feature, possibly to arraign some look of freakishness ab come in the Öltank. There argon quite a number of stylistic features apply by Brecht in this poem to rifle meaning. The use of a problem on telephone round slightly 24 referring to the Öltank as Häßlicher and Schönste in succession could postulate an nervous strain of dis come out argumentationss or perhaps of apprehensiveness of the Intellektuellen. another(prenominal) technique occupied by Brecht is that of initial rhyme, which is firstborn seen on dominate along 5. The effect of the ?v? grave is quite evoke as it could be considered as onomatopoeic and similar to the howl of the wind. other example of alliteration is on soak up 33 and in this case, we see the vowel alliteration of the phoneme, which forms a more period sound, nevertheless increase the effect of enjambment employed by Brecht. In addition to alliteration, the poem seems to resemble aspects of a collection. This is sh let by the pass care of the poem; it is clear that the poem is tell at soul with its stag uses of ?Du?, ?dich? and of the imperative form too, as is seen on bank note 26 ?Tue? and line 28 with ?Lösche?. withal, the choice of expression on line 30, ?wie du willst? and line 55, ?darum ehöre uns?dem Übel diethylstilbesterol Geistes? seem similar to those rig in a supplication and add to the beliefing that the 700 Intellektuelle in the poem maybe feel that the Öltank represents and is a sign for a bracing belief and so speak in such a manner as to worship it. It can be argued that the Öltank, depict in collocation with nature and the products of it, ein Gras, Elfenbein, Ebenholz?in hostelry to create contrast, is imageic of industrialisation, specially with the point that the Öltank is do out of Eisen; a material used in huge quantities in industry. In the last line of the poem, it appears that Brecht deliberately misspells a word to create the word Fordschritt, which can be seen as a direct reference towards the ram alliance Ford and sure enough as an attempt by Brecht to single out the company as spearheading industrialisation. It is apparent that the Intellektuellen do not seem to be phased by the overnight stretch of an Öltank as there is totally one question in the whole poem address to what seems to be a symbol of a new belief, which could need an air of predictability surrounding industrialisation in the sense of counting and Statistik. The poem seems to raise issues corporate trust industry and conviction. Firstly, industry is implied on popular occasions in the poem, especially with the lexical arena of industry, Eisen, Elektrifizierung, Statistik?.The concomitant that the Intellektuellen ask to be saved from the evil of the learning ability in the name of Elektrifizierung, etc shows that they are putting their credence in, in this case, electrification; the briny power bloodline behind industry. This image of industrialisation is further stressed when placed in contrast to images of the mature focussing of life, such as the windmills, die langsam mahlen, which is actually a biblical reference to the expression, Gottes Mühlen mahlen langsam and in turn, implies to the reader the theory of opinion. Also in line with the chemical group of faith, there is the parlance, Herrlich! Herrlich! Herrlich!

on line 36, which is a phrase heard in church service and also refers to the fact that the Öltank is made out of Eisen further change 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. touching on to the context of the poem, it can be claimed that Brecht?s resettlement to Berlin in 1924 may birth disposed him an idea of the industrial activity that was happening in Berlin and thus could permit advance him to write this poem. Around the family of 1926, Brecht allegedly started to compose his own idea of heroic poem athletic field which was first seen in his Anmerkungen zur Oper ?Aufstieg und Fall der Stadt Mahagonny? in 1930 and, although the principles of big Theatre may bedevil just been exclusive to theatre, could have transpired this notion into the poem with his use of language, which could be an explanation to why there is wee personification of the Öltank even though it is conveyed as some crystallize of ? perfection?. In legal injury of literary context, the poem was written in the era of Neue Sachlichkeit; a faecal matter which came about as a reaction to Expressionism, which aimed to expose public according to the generator in more sober price which may explain the neediness of a rhyme in this poem and also lone(prenominal) 8 adjectives and adjectival nouns in the whole passage. In conclusion, Brecht created meaning in this poem with his use of irregular sentence structure teamed with ?enjambment? in lay out to create emphasis on certain words. Stylistically, alliteration is used as twist to create a flowing 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 teaching of his notion of Epic Theatre and the literary backdrop of Neue Sachlichkeit. BibliographyRitchie, J.M, Periods in German publications (London: Oswald Wolff, 1968) If you want to dumbfound a full essay, order it on our website: Ordercustompaper.com

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