A comparative analysis of the themes in "The Good Woman of Setzuan" by Bertolt Brecht and "Pygmalion" by George Bernard Shaw.
Written in 2007; 2,969 words; 2 sources; MLA; $ 87.95
Paper Summary:
This paper examines how there are two dominant themes as well as a subliminal theme present in "The Good Woman of Setzuan" and "Pygmalion". More specifically, the paper explains that the first dominant theme is evident in that both Brecht and Shaw question the levels of morality in social rankings by proving their low class lead female to be the most honorable character portrayed. The paper then shows how both authors also portray women that have the ability to rise above their lowly upbringing and lifestyle, which defies popular male chauvinist views, but yields a self-identity problem. The paper also discusses how both plays have an underlying theme of man's dominance over women by showing that despite Shen Te and Liza's recent social and personal advancements, their success can only be credited to a man in their lives.
From the Paper:
"Likewise, in The Good Woman of Setzuan, we see how Brecht portrays Shen Te, who comes from the most despicable of the low class, the prostitutes, as a woman of good moral character. She allows the gods to stay with her and kicks out her "appointment", despite her needing money for the rent due the next day (Brecht, 8). Once she has been blessed by the gods, Shen Te allows numerous guests to live in her newly acquired tobacco shop when they have nowhere else to stay (Brecht, 13). Shen Te also shows great compassion on Yang Sun when he is on the brink of suicide, and even gives him money so that he may return to pilot school (Brecht, 35 & 53). Shen Te contradicts her neighboring tenant, the barber, who is known as being extremely wealthy, "The barber is filthy rich (Brecht, 46)." "
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