On The Misuses of Talent

Should one advocate destroying the literary products of Mr. Bertolt Brecht ?

I for one would not. (I do not approve of ‘cultural revolutions’, or any ways of distorting the historic record). To the contrary, I would advocate careful preservation of all this material for the proper edification of the youth* and for the future generations.

Should one tolerate his or his work being uncritically advertised or promoted, without mention of his role in and contributions to the 'marxist-leninist' disasters ?

I for one would not. You, the reader, do it at your own peril, if you so choose.

But please keep in mind that your own heading (perhaps cheerfully) for some kind of Marxian-ordained or Marxian-induced slaughter could also involve other people.

WPT

    * A fundamental : marxist-leninist-stalinist-maoist = liars + hosts of (relatively innocent) dupes.
    One could tentatively propose that all this brecht-like material be carefully preserved, in the basements of some such libraries as might specialize in such subjects, with unrestricted public access.
    Arguments over 'freedom of speech' might usually be expected over such authors as this Bertolt Brecht. One does keep in mind one's freedom from impositions — which naturally precedes another's freedom to anything at all.
    As a matter of one's freedom of speech, so far as such be acknowledged (this one not being a 'marxist-leninist' society — insofar as could have been prevented) — one does voice disagreement with fallacious, corrupt, ultimately criminal 'ideology', whether propagated by the means of blown-up bridges or by means of infected art.

From the hearings of the Committee on Un-American Activities,

Selections from the hearing on 30 October 1947

    MR. STRIPLING :  Mr. Brecht, is it true that you have written a number of very revolutionary poems, plays and other writings?
    MR. BRECHT :  I have written a number of poems and songs and plays in the fight against Hitler and, of course, they can be considered, therefore, as revolutionary because I, of course, was for the overthrow of that government.

* * *

    MR. STRIPLING :  In 1930 did you, with Hanns Eisler, write a play entitled Die Massnahme?
    MR. BRECHT :  Yes, yes.
    MR. STRIPLING :  Would you explain to the Committee the theme of that play—what it dealt with?
    MR. BRECHT :  Yes, I will try to.
    MR. STRIPLING :  First, explain what the title means.
    MR. BRECHT :  Die Massnahme means (speaking in German).
    MR. BAUMGART :  Measures to be taken, or steps to be taken—measures.
    MR. STRIPLING :  Could it mean disciplinary measures?
    MR. BAUMGART :  No, not disciplinary measures. It means measures to be taken.
    MR. STRIPLING :  All right. You tell the Committee now, Mr. Brecht, what this play dealt with.
    MR. BRECHT :  Yes. This play is the adaptation of an old religious Japanese play, called Noh play, and follows quite closely this old story which shows the devotion for an ideal until death.
    MR. STRIPLING :  What was that ideal, Mr. Brecht?
    MR. BRECHT :  The idea in the old play was a religious idea. This young people—
    MR. STRIPLING :  Did it have to do with the Communist Party?
    MR. BRECHT :  Yes.
    MR. STRIPLING :  And discipline within the Communist Party?
    MR. BRECHT :  Yes, yes, it is a new play, an adaptation. It had as a background the Russia-China of the years 1918 or 1919, or so. There some Communist agitators went to a sort of no man's land between the Russia [ . . etc]
    MR. STRIPLING :  Mr. Brecht, may I interrupt you? Would you consider the play to be pro-Communist or anti-Communist, or would it take a neutral position regarding Communists.
    MR. BRECHT :  No, I would say—you see, literature has the right and the duty to give to the public the ideas of the time. Now, in this play—of course, I wrote about twenty plays—but in this play I tried to express the feelings and the ideas of the German workers who then fought against Hitler. I also formulated in an artistic—
    MR. STRIPLING :  Fighting against Hitler, did you say?
    MR. BRECHT :  Yes.
    MR. STRIPLING :  Written in 1930?
    MR. BRECHT :  Yes, yes. Oh, yes, that fight started in 1923.
    MR. STRIPLING :  You say it is about China, though. It has nothing to do with Germany?
    MR. BRECHT :  No, it had nothing to do about it.
    MR. STRIPLING :  Let me read this to you.
    MR. BRECHT :  Yes
    MR. STRIPLING :  Throughout the play reference is made to the theories and teachings of Lenin, the ABC of Communism, and other Communist classics, and the activities of the Chinese Communist Party in general. [Etc.]

Comment The hearing had veered from the 'theories and teachings of Lenin' towards the actual plot of the play — which plot I for one have no taste for —: please check this out the reader, if you do not mind getting possibly disturbed for the sake of some non-marxian cause. — (WPT)

 

 

Eisler, Hanns, 1898-1962 Uniform Title [ Songs. Selections] Title Songs of Bertolt Brecht and Hanns Eisler; 42 songs in German and English, edited, with singable English translations and introductory notes by Eric Bentley. Music edited by Earl Robinson, with piano arrangements and guitar chords Publisher New York, Oak Publications [1967] Description 192 p. illus. 29 cm Note Words by Bertolt Brecht In part for chorus and piano Note Bibliography: p. 192 Contents Coal for Mike -- The gray goose -- Solidarity song -- Song of the United Front -- All or nothing -- Peace song -- Ballad of the soldier -- To the little radio -- And the times are dark and fearful -- The homecoming -- Easter sunday, 1935 -- A Hollywood elegy -- To those who come after: three elegies -- Abortion is illegal -- The mask of wickedness -- The sprinkling of gardens -- On the world's kindness -- The poplar tree on Karlsplatz -- How the wind blows -- Happy the man -- Change the world: it needs it -- Song of the rice-barge coolies -- Come out and fight -- Supply and demand -- We are the scum of the earth -- Praise of illegal work -- Praise of the U.S.S.R. -- In praise of study -- On suicide -- There's nothing quite like money -- The love market -- The tree and the branches -- Ballad of Marie Sanders -- Do not cry, Marie! -- The German miserere -- Song of a German mother -- A German at stalingrad -- Song of the little wind -- And what did she get? -- Song of the Moldau -- Language German

Comment :  Some might especially appreciate 'Praise of the U.S.S.R.'  One notes, nevertheless, that even some of the Russians did not quite like that late outfit.

What about 'Praise of illegal work'?

— (WPT)

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