by Tom Kuhn
Last hope
[Letzte Hoffnung]
BFA 13, 344; 1926; P1961; D.C.
The song of Surabaya-Johnny
[Surabaya-Johnny]
BFA 13, 344; 1926; P1929; T.K.
This song found its way into the play Happy End, by Brecht and Elisabeth Hauptmann. It became a hit in the setting by Kurt Weill, memorably sung by Lotte Lenya.
A thinking man soon knows . . .
[Und wenn wir’s überlegen]
BFA 13, 346; 1926; P1967; D.C.
On Nature’s complaisance
[Von der Willfährigkeit der Natur]
BFA 13, 347; c. 1926; P1951; D.C.
Chorus of the Poor from The Rich Man and the Poor Man
[Chor armer Leute aus Der reiche Mann und der arme Mann]
BFA 13, 348; c. 1926; P1993; D.C.
It seems Brecht planned such a play but nothing more is known of it.
The guest
[Der Gast]
BFA 13, 353; c. 1926; P1961; D.C.
The Gordian Knot
[Der gordische Knoten]
BFA 13, 353; c. 1926; P1961; D.C.
The cities
[Die Städte]
BFA 13, 356; c. 1926; P1927; D.C.
Brecht used the poem in Mahagonny (1927 and 1929). Only in the first published version does the latter part of line 3 read: “Wir haben sie genossen” (“We enjoyed them”). All other published and typescript versions have: “Wir haben nichts genossen” (“We enjoyed nothing”).
Concerning the cities 2
[Über die Städte 2]
BFA 13, 363; c. 1926; P1967; D.C.
Brecht wrote this and the following poem during his work on Jae Fleischhacker, a play he did not finish.
This Babylonian confusion of the words . . .
[Diese babilonische Verwirrung der Wörter]
BFA 13, 356; c. 1926; P1961; D.C.
Tamburlaine, so I hear . . .
[Timur, höre ich]
BFA 13, 362; c. 1926; P1967; D.C.
Only this second section of the poem has survived.
We ask that he too show his naked body . . .
[Wir fordern, dass auch er]
BFA 13, 363; c. 1926; P1965; D.C.
Seeing how inadequate . . .
[Einsehend, wie unzulänglich]
BFA 13, 365; c. 1926–27; P1982; D.C.
The “1” might indicate that further sections were intended.
Who wants to be a soldier . . .
[Wer will unter die Soldaten?]
BFA 13, 372; c. 1926/27; P1982; D.C.
AUGSBURG SONNETS
AND POEMS BELONGING WITH THAT COLLECTION
Sonnet No. 1. On the shortage of wickedness
[Sonett Nr. 1. Über Mangel an Bösem]
BFA 11, 123; 1926; P1982; D.C.
Sonnet No. 5. Cow eating
[Sonett Nr. 5. Kuh beim Fressen]
BFA 11, 124; 1925; P1961; D.C.
Sonnet No. 6. A man gets himself to bed
[Sonett Nr. 6. Ein Mann bringt sich zu Bett]
BFA 11, 125; 1925; P1982; D.C.
Sonnet No. 7. An old whore
[Sonett Nr. 7. Über eine alte Fohse]
BFA 11, 125; 1926; P1982; D.C.
Sonnet No. 10. On the need for make-up
[Sonett Nr. 10. Über die Notwendigkeit der Schminke]
BFA 11, 126; 1925; P1961; D.C.
Sonnet No. 11. Concerning the enjoyment of married men
[Sonett Nr. 11. Vom Genuss der Ehemänner]
BFA 11, 126; 1926; P1982; D.C.
Sonnet No. 12. The lover
[Sonett Nr. 12. Vom Liebhaber]
BFA 11, 127; c. 1926; P1961; D.C.
Sonnet No. 14. Inner emptiness
[Sonett Nr. 14. Von der inneren Leere]
BFA 11, 127; 1926; P1982; D.C.
Sonnet No. 15. On the use of vulgar words
[Sonett Nr. 15. Über den Gebrauch gemeiner Wörter]
BFA 11, 128; 1926; P1982; D.C.
Sonnet No. 1
[Sonett Nr. 1]
BFA 11, 129; 1927; P1961; D.C.
Sonnet No. 2. Models
[Sonett Nr. 2. Von Vorbildern]
BFA 11, 129; 1925; P1961; D.C.
Sonnet No. 10. On modesty in a woman
[Sonett Nr. 10. Von der Scham beim Weibe]
BFA 11, 130; 1926; P1982; D.C.
Sonnet on living badly
[Sonett über schlechtes Leben]
BFA 13, 306; 1925; P1961; D.C.
Discovery about a young woman
[Entdeckung an einer jungen Frau]
BFA 13, 312; c. 1925; P1961; T.K.
Need for art
[Forderung nach Kunst]
BFA 13, 312; 1925; P1993; T.K.
Sonnet for drinkers
[Sonett für Trinker]
BFA 13, 320; c. 1925; P1961; D.C.
The saying in line 7 was current in Brecht’s day. He employed it in Scene 1 of Mahagonny and in his ‘The sixth sonnet.’
Sonnet: The winner
[Sonett vom Sieger]
BFA 13, 320; c. 1925; P1961; D.C.
Lines 3–4 allude to Hamlet, Act 4, Scene 4, lines 18 and 62–65.
Sonnet Number 3
[Sonett Nummer 3]
BFA 13, 332; 1926; P1993; D.C.
See also ‘The legend of the whore Evlyn Roe.’
Sonnet on a fair-to-middling copulation
[Sonett über einen durchschnittlichen Beischlaf]
BFA 13, 341; 1926; P1982; D.C.
Sonnet to Mr Albert Frehse
[Sonett an Herrn Albert Frehse]
BFA 13, 359; c. 1926; P1982; D.C.
Elisabeth Hauptmann made a copy of this sonnet and wrote in the margin: “To Mr Albert Frehse because, as a courtesy, he took a godemiche to the brothel with him.” A godemiche is an artificial penis.
THE READER FOR CITY DWELLERS
AND POEMS BELONGING WITH THAT COLLECTION
1. Cover your tracks
[Trenne dich von deinen Kameraden]
BFA 11, 157; 1926; P1930; Johanna Schall/Michael Dressel
2. Fifth wheel
[Wir sind bei dir in der Stunde]
BFA 11, 158; 1926; P1926; J.S./M.D.
3. To Chronos
[Wir wollen nicht aus deinem Haus gehen]
BFA 11, 159; 1926; P1926; J.S./M.D.
4. I know what I need . . .
[Ich weiss, was ich brauche]
BFA 11, 160; 1927; P1930; J.S./M.D.
5. I am scum . . .
[Ich bin ein Dreck]
BFA 11, 160; 1927; P1930; J.S./M.D.
6. He strolled down the street . . .
[Er ging die Strasse hinunter]
BFA 11, 162; 1927; P1930; J.S./M.D.
7. Don’t talk of danger . . .
[Reden Sie nichts von Gefahr!]
BFA 11, 162; 1926; P1927; J.S./M.D.
8. Let go of your dreams . . .
[Lasst eure Träume fahren]
BFA 11, 163; 1926; P1927; J.S./M.D.
9. Four invitations to a man from different sides at different times
[Vier Aufforderungen an einen Mann]
BFA 11, 164; 1926; P1930; J.S./M.D.
10. When I speak to you . . .
[Wenn ich mit dir rede]
BFA 11, 165; 1927; P1930; D.C.
With the title ‘The severity of Me-ti,’ the poem was included in Buch der Wendungen (Me-ti).
Concerning the Uncle
[Über den Ohm]
BFA 11, 166; 1926; P1965; D.C.
Why do I eat bread . . . ?
[Warum esse ich Brot?]
BFA 11, 167; 1926; P1967; D.C.
I’m not saying Rockefeller is a stupid man . . .
[Ich will nicht behaupten]
BFA 11, 168; 1926; P1967; D.C.
If you had read the newspapers attentively . . .
[Hätten Sie die Zeitungen aufmerksam gelesen]
BFA 11, 169; 1926/27; P1928; D.C.
A man of sense .
. .
[Unbezahlbar ist]
BFA 11, 169; 1926/27; P1967; D.C.
He was easy to get . . .
[Es war leicht, ihn zu bekommen]
BFA 11, 170; 1926/27; P1967; D.C.
Again and again . . .
[Immer wieder]
BFA 11, 171; 1926/27; P1967; D.C.
Blasphemy
[Blasphemie]
BFA 11, 172; 1927; P1930; D.C.
The poem was used in Scene 11 of Mahagonny.
Directive for the authorities
[Anleitung für die Oberen]
BFA 11, 173; 1927; P1927; D.C.
Address
[Anrede]
BFA 11, 173; 1927; P1928; D.C.
The poem appeared in the program of Brecht’s play Man Equals Man, first performed in January 1928.
700 intellectuals worship an oil tank
[700 Intellektuelle beten einen Öltank an]
BFA 11, 174; 1927; P1928; D.C.
The cities are built for you . . .
[Die Städte sind für dich gebaut]
BFA 13, 363; c. 1926–27; P1967; D.C.
This is the first of a group of further poems which very likely belong with those of The Reader for City Dwellers. Elisabeth Hauptmann assigns the first ten to that collection; the other two would fit there by their tone of voice and way of proceeding.
You, a man seeing the indispensable . . .
[Du, der das Unentbehrliche]
BFA 13, 364; c. 1926–27; P1967; D.C.
Songs of the proletariat
[Gesänge des Proletariats]
BFA 13, 366; c. 1926–27; P1993; D.C.
I told him to move out . . .
[Ich habe ihm gesagt]
BFA 13, 367; c. 1926–27; P1967; D.C.
I hear you say . . .
[Ich höre Sie sagen]
BFA 13, 367; c. 1926–27; P1967; D.C.
Everyone knows that the solitary mistrustful man . . .
[Jeder weiss, dass der einzeln Misstrauische]
BFA 13, 368; c. 1926–27; P1967; D.C.
Often at night I dream . . .
[Oft in der Nacht träume ich]
BFA 13, 368; c. 1926–27; P1967; D.C.
Step forward! Why are you so late?
[Tritt an! Warum kommst du so spät?]
BFA 13, 371; c. 1926–27; P1967; D.C.
Are you a king?
[Sind Sie ein König?]
BFA 13, 402; c. 1927; P1982; D.C.
This is a reworking by Brecht of the lyrics of a contemporary song.
Report to somewhere else
[Bericht anderswohin]
BFA 13, 397; 1927; P1967; D.C.
Young and helpless arriving in the cities . . .
[Jung und hilflos in die Städte gekommen]
BFA 13, 392; 1927; P1982; D.C.
The poem is probably unfinished.
Sit down . . .
[Setzen Sie sich]
BFA 13, 369; c. 1926–27; P1967; D.C.
UNCOLLECTED POEMS 1927–1930
Poem of the Unknown Soldier under the triumphal arch and Second poem of the Unknown Soldier under the triumphal arch
[Gedicht vom Unbekannten Soldaten and Zweites Gedicht vom Unbekannten Soldaten]
BFA 11, 202; 1926/27; P1934; T.K.
These poems are the centerpieces of Kurt Weill’s secular German Requiem of 1928/29.
At Potsdam under the oak trees
[Zu Potsdam unter den Eichen]
BFA 11, 205; 1927; P1927; T.K.
The poem refers to a demonstration by the Red League of Fighters at the Front (Roter Frontkämpferbund) in May 1927.
To Karl (At present a crane in Ruhrort)
[An Karl]
BFA 13, 374; 1927; P1993; D.C.
Song of the machines
[Sang der Maschinen]
BFA 13, 378; 1927; P1961; D.C.
Children’s song
[Kinderlied]
BFA 13, 379; 1927; P1961; D.C.
Brecht seems first to have intended this song to follow ‘My name is Milksack Number 4’ in the poem ‘To Karl.’
Roll of honour for twelve world champions
[Gedenktafel für zwölf Weltmeister]
BFA 13, 379; 1927; P1961; D.C.
The thrift of the rich
[Von der Sparsamkeit der reichen Leute]
BFA 13, 385; 1927; P1928; D.C.
Winter
[Über den Winter]
BFA 13, 389; 1927; P1982; D.C.
In line 5 Brecht left a gap between “the” and “period.”
Fatzer chorus 1
[Fatzerchor 1]
BFA 13, 390; 1927; P1993; D.C.
Brecht wrote this and the next piece during an early phase of work on his (unfinished) play Fatzer. Both appear on separate sheets of paper and, unlike the other Fatzer choruses, were not integrated into the play.
Fatzer chorus 7
[Fatzerchor 7]
BFA 13, 390; 1927; P1993; D.C.
No sooner had he finished speaking . . .
[Kaum zu Ende gesprochen]
BFA 13, 393; 1927; P1982; D.C.
Singing Steyr motor cars
[Singende Steyrwagen]
BFA 13, 392; 1927; P1965; T.K.
It seems that Brecht entered this poem in a competition launched by the Austrian arms and automobile manufacturer Steyr. He won the competition and received as his reward a Steyr car, of which he was very proud. It is not known whether the poem was used for advertising purposes.
The tenth sonnet
[Das zehnte Sonett]
BFA 13, 394; 1927; P1929; D.C.
However, if you want my opinion, gentlemen . . .
[Aber wenn Sie meine Ansicht kennenlernen wollen]
BFA 13, 395; 1927; P1982; D.C.
The lines probably belong with early work on the opera Mahagonny. They may be a fragment of a scene, the line serving here as title perhaps to be spoken by one of the characters to introduce a song.
The leaves of every tree . . .
[Jedweden Baumes Blatt]
BFA 13, 399; 1927; P1993; D.C.
The lines belong among sketches Brecht made for a play entitled The Last Weeks of Rosa Luxemburg.
Rosa
[Rosa]
BFA 13, 399; 1927?; P1993; D.C.
The poem occurs among sketches for the unfinished play Fatzer; seems, however, to have nothing to do with it. Possibly Brecht had the tenth anniversary of the murder of Rosa Luxemburg in mind, January 15, 1929; in which case it was perhaps composed around then.
Epitaph 1919
[Grabschrift 1919]
BFA 11, 205; 1929; P1934; T.K.
Rosa Luxemburg was murdered in Berlin in January 1919 and her body thrown into the Landwehr Canal.
The rag-and-bone man
[Der Brockensammler]
BFA 13, 400; c. 1927; P1982; D.C.
The text breaks off.
I like hearing the tally of my rights . . .
[Ich höre gern meine Rechte aufzählen]
BFA 13, 401; c. 1927; P1982; D.C.
Even as a child they said it was disgraceful . . .
[Seit meiner Kindheit galt es ungebührlich]
BFA 13, 402; c. 1927; P1982; D.C.
Inscription on an uncollected tombstone
[Inschrift auf einem nicht abgeholten Grabstein]
BFA 13, 403; c. 1927; P1965; D.C.
Concerning man’s dependency on nature
[Über die Abhängigkeit des Menschen von der Natur]
BFA 13, 403; c. 1927; P1982; D.C.
These lines are also taken from the Fatzer materials.
It would not take much
[Wenig würde genügen]
BFA 13, 404; c. 1927–28; P1961; D.C.
Spring
[Über das Frühjahr]
BFA 14, 7; 1928; P1928; D.C.
As I dressed for my wedding . . .
[Als ich mein Brautkleid anzog]
BFA 14, 7; 1928; P1982; D.C.
The song, occurring in a fragmentary sketch (and never used) for The Threepenny Opera, may have been composed a year earlier (1927) for Mahagonny: with slight variations, the refrain and a few stray lines appear there in Scenes 11 and 16.
Ballad of the virgins
[Die Jungfraunballade]
BFA 14, 8; 1928; P1928; D.C.
To be sung by Polly Peachum in Act 1, Scene 3, of The Threepenny Opera; cut during rehearsals for the premiere. The source is Elisabeth Hauptmann’s translation of Air 6 of John Gay’s Beggar’s Opera. Hauptmann/Brecht keep the meter but only the last line is close to the English.
A whore who’s so inclined, sir . . .
[Wenn’s einer Hur gefällt, Herr]
BFA 14, 10; 1928; P1928; D.C.
To be sung by Peachum in Act 1, Scene 3, of The Threepenny Opera, cut during rehearsals for the premiere.
The riddle
[Das Rätsel]
BFA 14, 14; 1928; P1982; D.C.
Tercets on love
[Terzinen über die Liebe]
BFA 14, 15; 1928; P1930; T.K.
The poem also features as a dialogue, in more or less alternate lines, between Jenny and Paul in Rise and Fall of the City of Mahagonny.
In the chophouse and the drawing room . . .
[In Salon und Bouillonkeller]
BFA 14, 28; 1929; P1993; D.C.
The song survives in Elisabeth Hauptmann’s Happy End. Kurt Weill’s music for it is presumed lost.
The making of long-lasting works
[Über die Bauart langdauernder Werke]
BFA 14, 36; 1929/c. 1931; P1961; D.C.
The original version of this poem, from 1929, is in stretches very different. It includes a section 2 like this:
So too the plays that we invent
Are unfinished, or so we hope
And the tools that serve our playing
What would they be without the indentations, the
Result of many fingers, those signs, seemingly of damage
Which beget the nobler form
And the words too that
With their users so often
Changed their meanings.
Remember, these are the years . . .
[Vergiss nicht, dies sind die Jahre]
BFA 14, 38; 1929; P1982; D.C.
