The Good Person Of Szechwan Argumentative Essay Example

laments, "The dingy which might save us, is straight away sucked into the depths: Too many of the drowning Snatch greedily at it." This speech highlights how Shen Teh is enduring immense suffering due to those around her, particularly her family who seized her only source of livelihood. Additionally, a crucial message that Brecht emphasizes in this play is that it is impossible to be a virtuous person in a corrupt world.

The idea that the environment must be altered before people can change is reiterated by the character Sun. He believes that improvement in his personal character is reliant on changes in the world around him. If the system were fair and just, he wouldn't require assistance from Shen Teh to secure employment, as qualified individuals should not have to pay for job opportunities.

To reinforce his message, Brecht uses Shen Teh's speeches as another technique. In scene five, for instance, Shen Teh delivers a speech addressing the audience, expressing how little is needed in her world for people to abandon their hopeless lives. This conveys to viewers that Shen Teh's world is flawed, be it due to capitalism or inherent evilness. A change in the society is necessitated for the people of her world to transform.

The audience may question whether our world resembles the scene presented. Brecht's approach facilitates audience engagement by prompting a comparison of Shen Teh's world with present-day society. Although the play exaggerates situations, the underlying message remains – a need for world change. Brecht uses humour and irony to connect with the audience, understanding that the play is not feasible in everyday life as three gods

communicating with mortals is unlikely.

Throughout the play, the other characters believe Shui Ta is a real person, but in reality, Shui Ta is Shen Teh. Despite wearing trousers and a hat, Shen Teh's acquaintances fail to recognise her true identity. This scenario resembles a ptomaine act where an actor disguises themselves as another character. Humour is apparent in the beginning scene where Wang searches for a place for the gods to stay, while Shen Teh simultaneously searches for Wang, resulting in a classic ptomaine moment with characters running around the stage and providing entertainment for the audience.

In scene six of the play, humor is present as the gods converse with Wang during his dream. The portrayal of the gods in this scene is that they are highly professional and determined to solve the case of identifying a good person. Their objective is to collect enough evidence to present to their boss. The humorous effect is created through the use of terms like "keenly," "minor charities," "eight indeed," and "wonders," as well as the tone of the actors' voices.

Throughout this play, Brecht has addressed issues such as exploitation, capitalism, and the perception of some people being superior to others. This is exemplified through the character of Mr Shu Fu, who flaunts his wealth and believes himself to be above others. He takes advantage of Shen Teh's financial struggles by attempting to buy her affection. Although he does not directly cause harm, he is still an exploiter. The concept of exploitation can be represented by the exploitation triangle, which shows how everyone exploits each other. Brecht aims to prompt the audience to question why exploitation occurs and

why it is necessary. Ultimately, the audience must recognize that societal change is required before individuals can change.

Brecht plays with the conventions of traditional play endings in this play by leaving the story open-ended. Unlike many plays where the fate of characters is revealed, Brecht wants the audience to contemplate larger societal issues such as the need for change, exploitation, and whether there are good people in the world today. By intentionally leaving the story open, Brecht prompts the audience to think deeply about these questions and hopefully take action towards making the world a better place for good people to live in.