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Only in the case of the third type of response — alluding to structural phenomena, to artistic arrangement in musiclike sequence — are we dealing with literary techniques which can be proven on occasion to be more or less analogous to certain techniques in actual music. Like Frye, I would eliminate what he calls the sentimental, i. By euphonious I would mean the poetic use of smooth, mellifluous sound patterns; and the adjective cacophonous would characterize the poetic use of non-euphonious sound effects, from the strident through the sibilant to the muted.

I prefer these terms to others like harmonious and melodious or dissonant and discordant because they primarily signify a more general sound quality.

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But I admit that they also carry a musical connotation, however remote. That this unique, though at first glance unassuming little work has been all but neglected2 is surprising since critics have examined in considerable detail virtually everything Brecht wrote for the 1 Cf. Even the most up-to-date and comprehensive bibliography lists only a handful of brief treatments. Grimm, p.


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Brecht chose a well-known subject to accommodate the complex theatrical design he had in mind involving no less than three basic artistic media: literature, music, and the dance. For inspiration he must have particularly welcomed the loosely connected scenic portrayals of the sins in the paintings and drawings of Bosch and Breughel5 which are so akin in spirit 3 Die Bibel was first published in the Augsburg student paper Die ErnIe in January, Hereafter references to this edition for quotations from the ballet will be given in the text in parentheses, e.

No doubt aware of the long and illustrious history of the concept in theology, art, and literature, and thus relying on the traces of the religious and allegorical representations surviving in the universal consciousness6, the poet could proceed to construct his own, modern version on the theme. During a period of seven years in seven major American cities, under the strict guidance of Anna I, Anna II confronts and successfully withstands the seven deadly sins of bourgeois society.

Jauss and D.

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With the help of Karl Korsch, his Marxist philosopher friend and expert teacher, the poet was thoroughly indoctrinated by More significant than the straightforward, unambiguous moral, however, is the subtly equivocal conceptual framework Brecht devises to get his message across. But Brecht does not stop at this initial stage of alienation. By adding antithetical explicatory phrases to the individual sins, he further twists the original connotations toward his didactic aim. Anna II reveals herself as only too human in being susceptible to sloth.

Wanting to be lazy in committing injustice, Anna II is in fact being virtuous. The original version is particularly skeletal and wooden compared to the text the poet prepared for Weill to set to music9. The fact that both Annas are simultaneously and continuously visible, however, is unique. By transplanting contemporary social problems into a geographically distant milieu, the poet intends to alienate them and thereby bring about fresh awareness. The religious allusion of the title signals at the outset that this social satire is meant as a serious attack on the hypocrisy of the bourgeois moral code; from beneath the 8 As a Marxist, Brecht seems to be implying here that taking from the rich should be considered a virtue and that only indiscriminate greed is a sin.

This section of the text is unconvincing in its logic.