2

F o r m 3 P O L E

N y a b e r a D .

BIOGRAPHY OF BERTOLT BRECHT(1898-1956).

Bertolt Brecht was born on February 10, 1898, in Augsburg, Bavaria. His father Bertolt Friedrich
Brecht worked in a paper factory and rose to a management position there. His mother Sophie
Brezing, gave birth to another son Walter in 1900, but became ill with breast cancer and suffered
with it all during his youth. Bertolt himself was born with a congenital heart disease and a facial
tic and was a sickly child. At ten he went to a private school where he was educated in Latin and
the humanities. Suffering a heart attack at twelve, he recovered and went on with his studies. He
grew up with Martin Luther’s German translation of the Bible, a considerable influence on his
own language and themes. He began writing in school, founding and editing a school magazine.
By sixteen he was writing theater criticism for a newspaper and had written his first play.

During World War I, he did clerical work as alternative service for the war because of his health.
In 1917 he enrolled in medical school in Munich and began writing his play Baal about immoral
sexual attitudes. By 1919 he had fathered an illegitimate child with Paula Banholzer. In 1922 at
the Kammerspiele in Munich his play Drums in the Night was performed and later played at the
Deutsches Theater in Berlin, for which he received the Kleist prize for young dramatists. Brecht
married the opera singer Marianne Zoff, at the age of twenty-four. They had a daughter, Hanne.
In 1923 his two plays Jungle of Cities and Baal were performed. After moving to Berlin in 1924,
he met a Communist Viennese actress, Helene Weigel, eventually marrying her in 1929 and
having two children. She became his lifelong partner in the Berliner Theater. Other early plays of
note are the popular The Threepenny Opera (1928) ,Saint Joan of the Stockyards (1929) and The
Mother (1930).

A lifelong Marxist, Brecht used theater to champion the cause of the worker through what he
called epic theater, depicting the struggles of the common man against capitalism and fascism.
During the Nazi regime in Germany, he joined other Germans in exile in Hollywood writing for
films. It was during this time he wrote some of his most famous plays: The Life of Galileo
(1937), Mother Courage and Her Children (1939), The Good Person of Szechwan (1943) and
The Caucasian Chalk Circle (1944). In 1947, the House Un-American Activities Committee
called Brecht to account for his Communist allegiance. After testifying, he went back to Europe,
finally settling in East Berlin, in what was then Communist East Germany, in 1949. In Berlin he
assembled his own theater company, the renowned Berliner Ensemble.
Brecht wrote dozens of plays, reworking themes from other playwrights, such as Shakespeare
and Sophocles. He received the German National Prize in 1951 and in 1954, the Lenin Peace
Prize.Brecht died of a heart attack on August 14, 1956, leaving behind one of the great modernist
legacies of theater and theater criticism.

The Caucasian chalk circle character list

Peasants on the Right: Goat-herders to whom the disputed valley in the Prologue used to
belong.

Peasants on the Left: Fruit farmers who wish to irrigate the disputed valley in the Prologue.

Delegate from the capital representing the Reconstruction Commission. A man sent by the
state to mediate the dispute between the peasants over who owns the valley. He gives the valley
to the fruit farmers in the end.

ArkdiTscheidse: The singer (The man who sings the parable of the Caucasian Chalk Circle to
the peasants after the delegate has decided to give the valley to the fruit farmers)

GeorgiAbashwili: The Governor, he is beheaded after his brother the Fat Prince successfully
stages a coup.

Natella: The Governor's wife, she leaves her baby Michael behind when she flees the Fat Prince.
She later tries to get Michael back in order to reclaim the Governor's estates. The judge Azdak
rules against her, however, and chooses to instead give the child to Grusha.

Michael: The Governor's son and heir to the Governor's estates. He is raised by Grusha who
rescues him after his mother Natella abandons him. Grusha later claims him as her own child and
Azdak allows her to keep him.

Shalva: An adjutant

Arsen Kazbeki, the Fat Prince: The brother of the Governor, he stages a coup and kills his
brother. After ruling for two years he is deposed and beheaded by the return of the Grand Duke.

Messenger: A man sent by the Grand Duke to reinstate Azdak as judge even after the Fat Prince
has been deposed. The arrival of the Messenger saves Azdak's life since the people were about to
kill him.

Simon Shashava: A soldier who remains loyal to the Grand Duke; he and Grusha fall in love
and she promises to marry him when he returns from the war. Instead, she is forced to marry
another man before he returns. However, Azdak "mistakenly" annuls the marriage, thereby
allowing Grusha and Simon to get together at the end.

2
Grusha Vashadze: A kitchen maid in the palace, she rescues the Governor's son Michael and
takes the baby with her. She cares for the child for two years until Natella reclaims Michael.
Both women are forced to appear before Azdak who chooses to give the boy to Grusha

She is good, loyal, motherly, loving, selfless and daring as she risks her life and that of Michael
by crossing to the northern side, to her brothers place, using a bridge that's about to collapse, she
also dares to knock down the corporal. She is also courageous as seen when the soldiers caught
up with her, she hit one of the soldiers and ran away with baby Michael. Grusha is also selfless;
she didn't look out for her own comfort as she says herself.

Old Peasant with milk: While fleeing with Michael, Grusha tries to get rid of the boy by
leaving him with an old peasant woman. She is forced to reclaim the child in order to save him
from some soldiers who want to kill him.

Lavrenti Vashnadze: Grusha's brother, with whom she stays for an entire winter. He finally gets
rid of his sister by making her marry a "dying" man.

Aniko: Grusha's sister-in-law, described as a religious woman. She tries everything to get
Grusha out of her house.

Jussup: A "dying" man that Grusha marries in order to protect Michael. As soon as the war
ends, Jussup miraculously recovers and demands that Grusha perform her "wifely duties".

Monk: A drunken monk, who is paid to perform the marriage ceremony for Grusha and Jussup.

Azdak: Originally a village recorder, he accidentally saves the Grand Duke's life. He then goes
into town and confesses his crime, but the soldiers refuse to believe him. When the Fat Prince
arrives and offers the soldiers the chance to choose the new judge, they pick Azdak. He becomes
known for arbitrary judgments. He presides over the case where Grusha claims Michael and has
them draw the Chalk Circle. After awarding Grusha the child and annulling her marriage, he
disappears.

Shauwa: A policeman who becomes Azdak's assistant after Azdak is made judge.

Grand Duke: A man who ruled the entire province and under whom many men, including the
Governor, served. He is forced into exile for two years when the Fat Prince takes over but returns
with an army and kills the Fat Prince. He then saves Azdak's life by allowing Azdak to remain a
judge.

Ludovica: A good-looking peasant woman who has had sex with the stable boy. She is brought
before Azdak by her father who accuses the Stable boy of raping her. Azdak rules in the
Stableboy's favor and then tries to get Ludovica to sleep with him as well.

3
Poor Old Peasant Woman: She is part of another case tried by Azdak in which "miracles" keep
happening to her. Some farmers claim that these "miracles" are all being done by a bandit, her
brother-in-law, at their expense. Azdak rules in her favor.

Old Married Couple: They have been married forty years and want a divorce. Azdak hears their
case along with the Chalk Circle case. He agrees to annul their marriage, but "accidentally"
annuls Grusha's marriage instead.

SUMMARY OF THE CAUCASIAN CHALK CIRCLE

The Caucasian Chalk Circle begins with a Prologue that deals with a dispute over a valley. Two
groups of peasants want to claim a valley that was abandoned during World War 2 when the
Germans invaded. One group used to live in the valley and herded goats there. The other group is
from a neighboring valley and hopes to plant fruit trees. A Delegate has been sent to arbitrate the
dispute. The fruit growers explain that they have elaborate plans to irrigate the valley and
produce a tremendous amount of food. The goat-herders claim the land based on the fact that
they have always lived there. In the end, the fruit farmers get the valley because they will use the
land better. The peasants then hold a small party and a Singer agrees to tell them the story of the
Chalk Circle.

The Caucasian Chalk Circle is actually two stories that come together at the end. The first story
is that of Grusha and the second story is that of Azdak. Both stories begin in a Caucasian City
ruled by a Governor, who serves a Grand Duke. The Governor has just had a child, Michael, and
his wife Natella is incredibly jealous of the attention that he gives to his son. The Governor's
brother, the Fat Prince, stages a Coup on Easter Sunday. He kills the Governor and forces the
Governor's wife to flee. In her haste, she leaves behind her child. The Grand Duke and many of
the soldiers flee as well.

Grusha, a kitchen maid, becomes engaged to a soldier named Simon. Soon thereafter, during the
coup, she has Michael handed to her. She hides the child from the Fat Prince and his soldiers,
thereby saving the child's life. She then takes Michael with her and flees the city, heading north.
After spending most of her money and risking her life for the child, she arrives at her brother's
house. He allows her to live there over the winter.

When spring arrives, Grusha's brother forces her to marry a "dying" man-Jussup from across the
mountain. They hold a wedding, but during the reception the guests learn that the war is over and
that the Grand Duke has raised an army and returned. The "dying" man, Jussup, realizes that he
can no longer be conscripted into the army. He miraculously recovers and throws all the guests
out of the house. Grusha, now stuck with a husband she did not want, is forced to become a good
wife to him.

4
One day Simon returns and learns that she is married. He is even more upset when he sees
Michael, whom he thinks is Grusha's child. Some soldiers soon arrive and take Michael away
from her, claiming that Michael belongs to the Governor's wife. Grusha follows them back to the
city.

The next story that is told is that of Azdak. The plot returns to the night of the Fat Prince's coup.
Azdak finds a fugitive and saves the man's life. The man turns out to be the Grand Duke.
Realizing that he could be branded a traitor, Azdak walks into town and reveals that he saved the
Grand Duke's life. The soldiers refuse to believe him and he is released. The Fat Prince soon
shows up with his nephew, whom he wants to install as the new judge. However, he agrees to let
the soldiers decide who the next judge should be. After staging a mock trial, they choose Azdak.

He then judges four very strange cases, ruling in each case in favor of the poor. Azdak soon
gains a reputation for supporting the poor. However, after two years as a judge, the Grand Duke
returns. Azdak is arrested as a "traitor" by the soldiers and is about to be killed by them.
However, the Grand Duke, remembering that Azdak saved his life, reappoints him to be the
judge, thereby saving his life.

Azdak now takes over the case of Grusha and the child. The Governor's wife wants Michael back
because without Michael she cannot access the former Governor's estates. Grusha wants to keep
the child, whom she has raised for the past two years. Even Simon goes to the trial and promises
Grusha that he will support her.

After listening to all the arguments from both sides and learning about what Grusha has done to
take care of the child, Azdak orders a Chalk Circle to be drawn. He places the child in the middle
and orders the two women to pull, saying that whichever woman can pull the child out of the
circle will get him. The Governor's wife pulls Michael whereas Grusha lets go. Azdak orders
them to do it again, and again Grusha lets go. Azdak then gives Michael to Grusha and orders the
Governor's wife to leave. He confiscates the late Governor's estates and converts them into
public gardens and names them Azdak’s Gardens. His last act is to divorce Grusha, thereby
allowing her to marry Simon. During the dancing that follows, Azdak disappears forever.

Prologue

Brecht uses the device of a “play within a play.” The frame story is set in the Soviet Union in the
country of Georgia in the Caucasus Mountains, hence the name “Caucasian Chalk Circle.”Two
groups of peasants sit in the ruins of a Caucasian village along with a delegate from the State
Reconstruction Commission. It is shortly after WW II. The peasant group on the right originally
owned the valley and herded goats there, and now that the war is over they want to return to their
valley. The peasant group on the left is a group of fruit farmers from another valley but hopes to
take over this valley in order to plant fruit trees. The Delegate agrees to listen to both groups'
arguments as to why they should take over the valley.

5
The peasants on the right unpack some cheese and argue that the taste is different since they had
to leave their original valley. They also claim the land as a matter of law, arguing that since they
have always been in this valley they have a right to reclaim it.

The group on the left speaks next. They have Kato, an agriculturist; explain that they have drawn
up irrigation plans that would allow them to produce ten times as much fruit as before the war.
He shows the other group the plans and explains that it would even convert 700 acres of infertile
land into fertile land. Everyone looks at the plans and exclaims how good they are. The delegate
asks the peasants on the right if they will give up the valley, and they agree.

In order to celebrate the peaceful resolution to the problem, the peasants on the left provide a
singer named Arkadi. He agrees to sing a song called the Chalk Circle which comes from the
Chinese. Everyone goes into the Club House to eat and be merry and to listen to the Singer.

Interpretation

This prologue that opens the play also sets up the structure of the play. There are two disputing
parties, the goat-herders and the fruit farmers. Each group lays claim the valley. However, the
goat-herders have the claim that they were there first and should therefore keep the land, whereas
the fruit farmers argue that they could put the land to better use. The Delegate moderating the
debate chooses the fruit farmers because it is more logical for the person who can put the land to
better use to get it.

This entire prologue is extremely Communist in its message. Any capitalist society would argue
that whoever originally owned the land should get it. Brecht instead argues that whoever can best
use the land should get it.

The prologue serves yet a third function of allowing Brecht to present his ideas before the play
even starts. This allows the audience to receive the moral of the play without even having to read
it. Thus, he gets his Communist message across immediately and only after he has presented the
message does he actually allow the play to begin.

6
Act One (THE NOBLE CHILD)

The Singer from the Prologue begins the story of the Chalk Circle. It begins in a city ruled by the
Governor Georgi Abashwili whose wife is Natella with whom he has a son named Michael. The
Governor and his family are going to church on Easter Sunday, but so many people have arrived
to see Michael that the soldiers are forced to shove the common people away from the church
doors. Before entering the church, the Governor is greeted by his brother Prince Kazbeki,
otherwise known as the Fat Prince. The Fat Prince remarks that Michael already looks like a
future Governor.

Michael is attended by two doctors who fuss over the child and are desperate to keep him in
good health. Everyone enters the church except for the Governor and a messenger (the Rider)
who has just arrived. The messenger has important news for the Governor, but the Governor
refuses to hear it, telling the messenger to wait until later.

Grusha Vashnadze, the main character of the first half of the play, enters with a stuffed goose
under her arm. She is greeted by Simon Shashava, a soldier who has guard duty outside the
church. The two of them flirt for a while and Simon reveals that he often hides behind a bush and
watches Grusha washing the linen so he can see her dip her legs in the river. After learning this,
Grusha is embarrassed and runs off.

The Fat Prince appears and makes a sign to some Iron shirts (soldiers). They disappear and
within minutes the entire city is surrounded. The Governor and his family soon appear coming
out of the church. He returns to his home in order to speak with some architects who are to build
a new wing on the eastern side of his palace. The architects arrive, but they soon realize that the
Fat Prince has staged a coup. They run away before they are captured.

The Governor is soon led onstage in chains. The Singer, who narrates the events to follow,
comments that the Governor does not need an architect, but rather "a carpenter will do." The
servants soon rush out of the house as well and start to run away. Even the two doctors who
attend to Michael rush out and run away.

Simon returns and searches for Grusha until he sees her. He informs her that he will remain loyal
to the old regime and that he will protect the Governor's wife as she flees the city. Grusha tells
him he is being "pigheaded" by obeying orders instead of mutinying with the other soldiers.
7
Simon then turns to Grusha and asks her several questions that indicate he is interested in
marrying her. She replies to all of them and then anticipates his last question, telling him that her
answer is yes. He ignores her answer and quickly tells her about himself before asking her for
her hand. She again accepts.

Simon gives Grusha a silver cross to wear as a sign of their engagement. He then leaves to go
protect the Governor's wife and Grusha leaves as well. The Governor's wife arrives with
numerous boxes of her things and her child Michael. She makes another woman hold Michael
while she runs around and packs her clothes. She realizes that she needs help so she orders the
maidservant to put Michael down in order to help her pack. The Adjutant arrives and forces her
to leave immediately. In her haste to save her dresses, she leaves her child Michael behind. One
of her servant woman sees Michael and hands him to Grusha. She is told by several other people
that it would be safer to simply leave the child. The Cook goes so far as to tell her, "if he had the
plague he couldn't be more dangerous."

Grusha watches as everyone runs away. She then hides the child under a blanket and waits to see
what happens. The Fat Prince arrives with his soldiers, who carry the Governor's head on a lance.
They nail the head over a doorway. The Fat Prince remarks that it is too bad he was unable to kill
Michael. After the soldiers leave, Grusha goes to sit down next to the child. She sits with the
child all through the night until dawn. By that point she is taken in by Michael and so she takes
him away. The Act ends with the singer commenting, "As if it was stolen goods she picked it up.
/ As if she was a thief she crept away."

Interpretation of Act One

The Caucasian Chalk Circle opens on Easter Sunday, a time for the Resurrection of Christ. This
is important because instead of a resurrection, there is an insurrection. The Governor will get
killed by his brother. The fact that it is Easter Sunday is thus the first of the many religious
symbols present in the play. For example, the fact that the Fat Prince is the Governor's brother
brings to mind the Biblical story of Cain and Abel. The playwright undermines religion
throughout the play in both subtle and obvious ways; notice that the act of entering the church is
juxtaposed with the image of the soldiers pushing the common people out of the way, thus
undermining the religious aspects of going to church.

It is important to note that the Fat Prince greets his brother. This is so unusual that even the
Governor remarks on it, "But did you hear Brother Kazbeki wish me a happy Easter?" Soon
thereafter the Fat Prince usurps power and takes over the city. The relationship between the
brothers is thus foreshadowed by the Governor's comment, in which he expresses surprise at
being greeted by his brother.

Another important moment is when Natella, the Governor's wife, tells her Adjutant how jealous
of Michael she really is. She is desperate for attention from her husband. "But Georgi, of course,

8
will only build for his little Michael. Never for me! Michael is all! All for Michael!" This
jealousy of her child leads to her abandon him later in the Act.

The playwright's sarcasm towards religion is reintroduced when the Governor is led onstage in
chains. The Singer remarks, "And now you don't need an architect, a carpenter will do." This
alludes to the fact that Jesus was a carpenter; the Governor needs Jesus to intervene and save
him on this Easter Sunday. This will of course not happen.

Throughout the play are dispersed the Seven Sacraments of the Catholic Church. The first one
appears when Simon and Grusha agree to become engaged. The engagement is sealed when
Simon gives her his silver chain. This represents the act of Confirmation, and it is the first of the
seven Catholic sacraments that will appear in the play. The others that will follow are Baptism,
the Holy Eucharist, Penance, Extreme Unction (the Anointing of the Sick), Holy Orders, and
Matrimony. Grusha represents this "good" character. She places value on human life unlike the
other people who advise her to give up Michael. The Cook goes so far as to say, "If he had the
plague he couldn't be more dangerous." She replies with, "He hasn't got the plague. He looks at
me! He's human!"The old woman comments, "You're a fool - the kind that always gets put
upon."

The Act ends with Grusha's act of charity/humanity when she picks up Michael and takes him
with her. Grusha’s act has a direct analogy to the prologue. Grusha represents the peasants on the
left who wish to take the valley and put it to better use.

Act Two: (THE FLIGHT INTO THE NORTHEN MOUNTAINS)

Act Two, follows Grusha as she flees with Michael and saves him from the soldiers who want to
kill him. She enters the stage singing "The Song of the Four Generals." When she is done
singing, she spots a peasant's cottage and goes there to buy some milk. The peasant charges her
two piasters, the equivalent of a week's wages for her.

She keeps heading north, all the while being followed by several Iron shirts who want to kill
Michael. She soon arrives at the River Sirra and comes across a farmhouse. When she sees that
the peasant woman has milk, she decides to leave Michael on the doorstep since she knows that
the peasants can feed him. She then goes to hide behind a tree in order to watch what happens.

The peasant woman finds the child at her door and brings Michael into the house. Her husband
tells her to give it to the local priest, but she indicates that she will take care of it. Grusha hurries
off in the opposite direction. However, before she gets very far she encounters the Ironshirts who
are chasing her. The Corporal makes several crude sexual remarks to her before becoming

9
serious and demanding to know where Michael is. Panic-stricken, Grusha turns around and
rushes back to the cottage where she left the child.

She runs inside and tells the peasant woman to hide Michael in order to keep him safe. The
woman tentatively agrees, but she is frightened by the soldiers. The Corporal arrives and
demands to know why Grusha ran. When he turns to the peasant woman, the woman falls to her
knees and reveals that Grusha left the child on her doorstep. She is led outside by the other
soldier, and the Corporal goes to take a look at Michael. Grusha, in despair, seizes a log and hits
him over the head with it, knocking him out. She then grabs Michael and rushes out of the house.

She eventually reaches a glacier that has a deep ravine in it. The only way across is a broken rope
bridge where one rope has snapped and is hanging down the abyss. Several merchants are using
a stick to try to grab the broken rope in order to repair the bridge. Grusha tells them that she must
get across because Ironshirts are pursuing her. They try to stop her, telling her that the drop is
two thousand feet and that she cannot possibly get across with the baby. Grusha ignores them
and steps onto the ropes. She succeeds in getting across and triumphantly laughs at the Ironshirts
when they arrive on the other shore and realize they cannot catch her.

Interpretation of Act TWO

The amount of money used is an important issue in the play, both in this act and in subsequent
ones. For instance, Grusha is forced to pay two piasters for milk; this is an entire week's salary
that she is sacrificing for Michael. This is a huge sum for her. However, contrast that amount of
money with the later acts. Azdak, in Act Four, is offered 100,000 piasters for one night's lodging.
This drastic difference is meant to highlight the inequalities between the rich and the poor (social
stratification).

Grusha goes through ten developmental steps that start in this act. Each of these steps requires
that she sacrifice a part of herself to Michael. She does this financially, emotionally, in terms of
her promises to Simon, and in terms of her life. The first step occurs when she gives up her
money for the child, paying two piasters for milk. The second is when she decides to go back for
Michael after leaving him with the peasant woman. The third is when she hits the Corporal over
the head. Four is when she adopts Michael, "the helpless girl adopted the helpless child." Five is
when she is offered the chance to leave the baby with the merchant woman so that she can cross
the bridge and save herself. Six is when she risks her life and Michael's life to cross the bridge.
The remaining developmental steps occur in the next act.

As was mentioned earlier, each of the seven sacraments is performed at one point in the play.
Another sacrament occurs here, that of Baptism: "I'll wash you, son, and christen you in glacier
water." This is a secularized version of baptism.

10
Act Three (IN THE NORTHERN MOUNTAINS)

Grusha walks across the glacier for another seven days until she reaches her brother's house. Her
brother, Lavrenti greets her. When he realizes that she has a baby, he asks her if there is a father.
She tells him no, and he asks her not to tell his wife Aniko that there is no father, explaining that
his wife is "religious."Aniko tries to come up with several excuses for why Grusha cannot stay
with them, saying that the countryside is too boring for city folk or hinting that Grusha might
have scarlet fever or tuberculosis. Lavrenti persuades her to allow Grusha to stay.

Grusha remains with her brother through most the winter months. As spring approaches, she tells
Michael that they must be "small as cockroaches" so that Aniko will let them remain until it is
springtime. Lavrenti enters her room and asks Grusha if it is too cold. She hastily pretends that it
is warm enough for her. In his desperation to get her out of his house, Lavrenti informs Grusha
that she must marry a dying man from the other side of the mountain. That way she will leave the
house and Michael is made a "legitimate" child since he will then have a father.

She protests, but Lavrenti explains that "you don't need a man in bed - you need a man on
paper." Since the man is dying, Grusha finally agrees to marry him so that she can become a
widow. She crosses the mountain and meets with the man's mother. Lavrenti has agreed to pay
the woman 400 piasters to arrange the marriage. When the woman discovers that Grusha has a
child, she demands more money. Lavrenti agrees to pay an additional 200 piasters in order to
ensure that Grusha can live on the farm for at least two years after her future husband dies.

A drunk monk arrives and performs the ceremony. The dying man does not even move, but his
mother says "yes" to the marriage for him. As soon as the marriage is over, the monk asks the
mother if she wants him to perform Extreme Unction, a sacrament for anointing the dead. The
mother refuses, saying that the wedding already cost enough.

The peasants that have arrived to watch the wedding and eat the reception food comment on
Jussup's condition. They indicate that everyone originally thought that Jussup was only faking
his sickness in order to avoid getting drafted into the war. However, now that it appears that
Jussup is about to die, they regret having felt that way. While all the guests continue to talk and
eat the food, Jussup suddenly sits up and then sinks back into the bed again. Suddenly all the
guests start talking about the latest news which has just arrived. It turns out that the Grand Duke
has gathered together a new army and is returning to fight with the princes that rebelled against
him the previous year.

11
When one of the guests remarks that the war is over and that the army can no longer draft
anyone, Jussup suddenly sits upright in bed. Jussup then gets out of bed and throws out all the
guests. After several weeks Jussup demands that Grusha start to have sex with him, that she
performs her "wifely duty." She reluctantly agrees. Many months pass and Grusha starts to
slowly forget about her promise to Simon.

One day she is washing linen by the stream. Michael is with her and he goes to play a game with
some children. They reenact the beheading of the Governor, Michael's father. However, instead
of playing the part of the Governor like the other children want him to, Michael insists that he be
allowed to behead the fat boy, who represents the Fat Prince.

Grusha laughs at the children playing, but when she looks up she sees Simon. He has returned to
marry her. She sadly informs him that she is now married and she tries to explain that Michael is
not her real child. He first demands that she give him the silver cross back, but she refuses.
Simon then waits while two Ironshirts grab Michael. The soldiers ask Grusha if Michael is her
child. Grusha is forced to say that Michael is in fact her child. As soon as she makes this claim,
Simon leaves her. The Ironshirts state that the child actually belongs to Natella, the Governor's
wife, and they take Michael with them. Grusha follows them back to the city where her case is
presented to Azdak, the city judge.

Interpretation of Act three

Throughout this act the playwright satirizes religion. Jussup is meant to represent Joseph who
married Mary when she was already pregnant. The depiction of him as a draft dodger is actually
quite humorous. Lavrenti's wife Aniko is constantly described as religious, even to the extent
that she uses "religion" as an excuse for kicking Grusha out of her home. The final satire on
religion is presented in the form of a drunk monk. The monk who performs the wedding
ceremony is a "cheap monk" who does not do a very good job.

Three more sacraments are presented in this act, those of marriage, holy orders, and extreme
unction. All occur when the monk is present. He himself represents Holy Orders, or at least a
parody of Holy Orders. He then performs the marriage ceremony and immediately thereafter, he
asks the mother if she would like him to perform extreme unction, a sacrament in which the dead
are anointed. She refuses, claiming that the wedding cost too much already.

Grusha now completes her development in the plot by going through the last four steps. The
seventh step is when she denies to Lavrenti that she is cold. This allows her to stay in her
brother's house for a while longer. Eight is when she gets married, thus breaking her promise to
Simon. Nine is when she agrees to have sex with Jussup, thereby losing her virginity. Ten is
when she is confronted by the Ironshirts and must choose between claiming Michael as her child
and losing Simon or disclaiming Michael and getting Simon. She chooses Michael, thereby

12
sacrificing Simon. At this point she has given away everything that she has to give in order to
keep Michael.

The children's game is important as it foreshadows the death of the Fat Prince. Michael is
initially asked to play his father and allow the older boys to behead him. Instead he chooses to
behead the Fat Prince, indicating that there will be soon be a change in the regime.

Act Four (THE STORY OF THE JUDGE)

This act is more of a flashback as it goes back two years to the time when the Governor was
beheaded by his brother the Fat Prince. A scrivener named Azdak finds a fugitive and agrees to
protect the man. He takes the man back to his hut. The man promises to pay Azdak 100,000
piasters for a night's lodging. When Shauwa, a policeman, arrives and demands that Azdak give
him the fugitive, Azdak slams the door in his face and makes him leave. The fugitive takes off
the next morning.

Azdak, realizing that he has given shelter to the Grand Duke, goes and makes Shauwa arrest him.
He then drags Shauwa into the city and denounces himself, informing everyone that he protected
the Grand Duke and therefore must be killed. The soldiers think that he is a fool and refuse to
believe him. When he asks for the judge, they show him that the judge has just been hung. Azdak
then sings a song for the Ironshirts, but the song is about the injustice of war.

The Fat Prince arrives with his nephew. He is planning on installing his nephew to be the new
judge. However, because his power is not yet solidified, he allows the soldiers to choose the next
judge, thinking that they will obviously choose his nephew. They do a mock trial in which the
nephew pretends to be the judge and Azdak pretends to be the Grand Duke. When accused of
running a war badly, Azdak blames the princes rather than himself. This implicates the Fat
Prince as well. Azdak continues to speak the truth, much to the delight of the Ironshirts, but he
eventually causes the Fat Prince to demand that they hang him. Instead, the Ironshirts make
Azdak the new judge.

Azdak next proceeds to give judgment on four very unusual cases. He begins all his cases by
saying, "I accept," meaning that he is willing to be bribed. The first case is between an invalid
and a doctor. The Invalid claims that he paid for the Doctor to study medicine and that he then
had a stroke when he heard that the Doctor was practicing for free. He blames the stroke on the
Doctor and wants to be paid back the money he spent in getting the Doctor trained. The other
case is that of a Blackmailer who demanded money from a landowner who had raped his [the
landowner's] niece. However, the Blackmailer refuses to divulge the name of the landowner.
Azdak rules that the Invalid must pay 1000 piasters as a fine, but that the doctor must treat him
for free if he suffers a second stroke. The Blackmailer is required to pay the court half of his

13
blackmailing fees since he would not give the landowner's name. Azdak then advises the
Blackmailer to study medicine.

The next case is that of an Innkeeper who is bringing suit against his stableman, whom he claims
raped his daughter-in-law, Ludovica. The Innkeeper claims to have caught the stableman in the
act. Azdak tries to get a bribe from the Innkeeper by asking for a "little roan," but the Innkeeper
refuses to pay him. Azdak then has Shauwa drop and knife which he makes Ludovica pick up.
He watches as her hips sway. He then says, "The rape is now proven...you have raped that
unfortunate man."Azdak then fines the Innkeeper the little roan that he wanted and lastly takes
Ludovica to the stables on the pretext of investigating the scene of the crime.

The last case is that of Granny, an old peasant woman who has had several miracles occurs. She
claims that she miraculously was given a cow, that she had a ham fly into her house through a
window, and that her landlord waived her rent. Three farmers are also present; each claiming that
Granny's brother-in-law Irakli has stolen a cow, stolen a ham, and killed the landlord's cattle until
the rent was waived. Azdak rules in Granny's favor, and fines the farmers for not believing in
miracles. He then has wine with Granny and her brother-in-law.

After two years the Grand Duke returns to power and Azdak fears for his life. He tells Shauwa
that the rich and powerful want to kill him because he has always ruled in favor of the poor
people. The Governor's wife soon arrives and demands to have her child back. Azdak promises
to oblige her, bowing all the while.

Interpretation of Act four

The amounts of money become much larger in this act than before. This is purposefully done by
Brecht to show the difference in the levels of wealth between the various social classes. Because
of these differences in wealth, Azdak becomes a "Robin Hood" figure, taking from the rich and
giving to the poor. Thus, he fines the rich Invalid, the Blackmailer, the Innkeeper, and the
Farmers, all of whom have wealth or land.

Another sacrament that appears in this act is that of Penance. Azdak is primarily a truth figure,
and thus the Penance serves as a representation of his telling the truth. The brilliance behind his
confession is the way he does it: all the soldiers ignore him and think that he is a fool. Even
when he sings them a song against war, he gets away with it by claiming the song was taught to
him by his grandfather. And in front of the Fat Prince, Azdak directly blames the war on the
princes, but again instead of being punished he is rewarded. His truthfulness is revealed through
the way he takes bribes; he is bribed publicly so that all can see rather than secretly.

The last sacrament of the Eucharist, or the Holy Supper, also appears in this act. Azdak shares
wine with Granny and Irakli. The Singer comments that "Broken law like bread he gave them."

14
This is almost a direct comparison of Azdak to Christ this comparison will continue in the next
act, when Azdak is "killed", "resurrected" by the Grand Duke, and finally disappears.

Like Grusha, Azdak goes through ten developmental steps as well. A quick list is given here:
first, he protects the Grand Duke, second he denounces himself, third he is made the judge,
fourth he judges the case of the Doctor and the Invalid, fifth he judges the case of the
Blackmailer, sixth he judges the case of the Innkeeper, and seven he judges the case of Granny
and the miracles. The remaining three stages of development occur in the final act.

Act Five (THE CHALK CIRCLE).

Grusha has returned to the city where she is about to face a trial for having taken the Governor's
son. The Cook from the first act tells her that she is lucky that Azdak is the judge, since that
means she will have a chance at winning the case. Simon is also present, and he tells Grusha that
he will swear he is the child's father. The Ironshirts are still present and one of them recognizes
Grusha. It is the corporal she hit with a piece of firewood. He leaves cursing, afraid to say
anything because then he would have to admit that he wanted to kill the child.

The Governor's wife, Natella, arrives and comments on how much she hates the smell of the
common people. Her lawyers advise her to not say anything against the poor until they are
certain that the Grand Duke has appointed a new judge. Azdak is then led onstage in chains,
having been arrested because he worked for the Fat Prince. The soldiers rip off his gown and
start to beat him. The Governor's wife claps her hands while this occurs.

Suddenly a messenger arrives with news from the Grand Duke. The Grand Duke appoints Azdak
to be the new judge. This is done to pay off his debt to Azdak for having saved his life. Azdak is
immediately put back into his judicial position and the soldiers stop beating him. He gets up and
gets ready to judge the case.

He starts the case by taking a bribe from the prosecutors, who are working for Natella. They
explain that Grusha has stolen Natella's child and refuses to hand it over. Grusha claims that
Michael is her child and that she brought him up. The lawyers point out that Grusha does not
claim to be a blood relative of Michael's. One of the lawyers then also adds that Natella needs to
get Michael back in order to take over the Governor's former estates.

Azdak questions Grusha and discovers that she was forced to marry to protect Michael. He also
learns that she and Simon are in love, even though Simon is not her husband. Both Grusha and
Simon get mad at Azdak because they think that he has already decided in Natella's favor. Simon
starts quoting folk wisdom to Azdak, who finally fines Simon for indecent language. Grusha then
accuses Azdak of taking bribes and calls him a "drunken onion."Azdak fines her thirty piasters
for her rudeness and moves on to another case.

15
The other case is that of an old couple who have been married forty years. They claim they
always disliked each other and now they want a divorce. Azdak tells them he will think about
their request and then returns to Grusha's case. He calls Grusha to him and asks her why she will
not give Michael up. He points out that Michael would be very rich since Michael would inherit
the estates. Grusha remains silent and Azdak tells her that he understands her.

Michael is brought into the courtroom and Natella accuses Grusha of dressing the child in rags
and raising him in a pigsty. Azdak watches as Natella throws herself at Grusha, but is restrained
by her lawyers. He then orders Shauwa to take a piece of chalk and draw a circle on the floor.
Michael is placed in the middle and both women are ordered to take an arm. Azdak tells them
that whichever woman can pull the child out of the circle will get him. Natella pulls hard and
yanks the child out of the circle; meanwhile, Grusha has refused to pull. Grusha then apologizes
to Azdak for having insulted him earlier.

Azdak orders them to make the test one more time. Again Grusha lets go of the child's arm.
Azdak then says that it is now obvious who the true mother is. He gives Michael to Grusha and
advises her to leave the city. He then orders Natella to disappear before he fines her for fraud.
Michael's estates fall to the city and he decides to have them called Azdak's Garden. His last act
is to sign the divorce papers. However, Azdak “mistakenly" divorces Grusha instead of the old
couple. Everyone present then starts dancing. During the dancing Azdak slowly is hidden from
view until he disappears by the end. The Singer ends the play by describing Azdak's reign as a
"brief golden age, / almost an age of justice." He then concludes with the lines, "Children to the
motherly, that they prosper, / Carts to good drivers, that they be driven well, / The valley to the
waterers, that it yield fruit."

Interpretation of Act five

The development of Azdak is completed in this act. His eighth step is his reinstatement as judge
by the Grand Duke. Nine is his ruling in favor of Grusha and divorcing her, and his tenth and
final step is his disappearance at the end.

There is a strong circularity to the play, with the ending returns to beginning. Thus the last line of
the play, "The valley to the waterers, that it yields fruit," is a return to the Prologue where the
fruit farmers receive the valley. This circularity, or rather continuity is present in other respects
as well. For instance, the Ironshirts are still present in the final act. Brecht is trying to make the
audience realize that although the regime may change, the army always stays the same. Thus
Grusha sees the Corporal whom she knocked out, and he is still working in the army.

Azdak mimics Christ throughout this final act. He is first shown being beaten and then lying
"dead" on the ground. The arrival of the messenger is a form of resurrection for him, and soon
thereafter he gets up and puts on his gown again. The final moment of the act is his ascension
into heaven, represented by having Azdak simply disappears. His reign on earth is remembered,
we are told, as a period of justice, a "brief golden age." The religious connection is further

16
illustrated by having Azdak represent Solomonic wisdom. This story is similar to the story of
Solomon where he must choose the real mother of a baby. He says that he will cut the child in
half and give each woman one part. The true mother chooses to give the other woman her child.
Thus, Solomon knows who the real mother it. The same thing happens here, except that this time
it is Grusha who would rather lose the child instead of the real mother. Azdak justifies his
decision the same way King Solomon did, by choosing the mother who does not try to harm the
child.

Even though Azdak is gone at the end, it is important to notice what he has left behind: Adak’s
Garden will act as a memory of his reign and the justice that it created for the people.

THEMATIC ANALYSIS.

When a writer creates a story, there is something that he/she wants to communicate to the reader
or listener. This message is called a theme. Usually, poems and short stories and poems may
contain one or two themes but novels and plays, usually have many themes.

A theme is not stated directly, hence, the author will use different characters and events in order
to bring out the message or themes. In the play, The Caucasian Chalk Circle, some of the
major themes that Brecht addresses are:

 Abuse of power
 Greed / materialism
 Selflessness
 Social class inequality
 Justice
 Betrayal
 Political and social turbulence
 Deceit, hypocrisy and religiosity
 Conflict / antagonism
 Love
 Irresponsibility

Class Warfare

The Grand Duke of Grusinia (Georgia) is involved in a foreign war in Persia when the play
opens, yet the action focuses on the civil war at home caused by the coup of the Princes. While
the aristocratic regimes come and go during the action of the play, the common people are
always regarded as less than human. They suffer no matter who is in charge.

17
The Singer uses Governor Abashvili who is executed by his brother, the Fat Prince, as a warning
to other rulers: “Oh blindness of the great! They walk like gods/ Great over bent backs, sure/ Of
hired fists, trusting/ In their power which has already lasted so long” (Scene One, p.15). The
soldiers or “hired fists,” like the Ironshirts, change loyalties with regimes and let themselves be
used by the rich to persecute the poor. Simon Shashava is an exception to this, remaining loyal to
the Duke. One of the most passionate denunciations of the upper classes is by the maid Grusha in
Scene Six when she denounces Azdak the Judge and the justice system itself as a servant of the
rich. She complains that the wealthy “drag our men into their wars” (p. 92). Simon’s memories
of the war in Scene Four reinforces her complaint as he witnessed his brothers slain around him
for the sake of the Duke’s cause.

Natella Abashwili becomes the stereotyped and heartless noble lady who can only run around
picking out the right dresses to pack and berating the servants while her husband is being
executed and her son is abandoned.

In court, Natella’s notion of motherhood has to do with station. She wants her son back so they
can be restored to their estate. She only notices what the child is wearing and is shocked to see
him in rags. When Azdak asks Grusha if she wouldn’t like the child to be rich, she thinks to
herself it is better for him to be poor than to mistreat the poor: “Hunger he will dread/ Not those
who go unfed” (Scene 6, p. 94). He will not always have to be afraid of who is going to chop off
his head, as was done to his father, because of a power struggle or because he was unjust to
others.

Humanity/ Human Sympathy

The play illustrates that human sympathy makes everyone equally valuable. Grusha does not
hate Michael because he is the son of the Governor, who oppresses everyone. She is won over
because he is a baby, like any other: “He looks at you like a human being” (Scene 2, p. 23).
When Grusha sits with the baby all night trying to consider what to do with it, she hears it call to
her as if saying: “Don’t you know woman, that she who does not listen to a cry for help/ But
passes by shutting her ears, will never hear/ The gentle call of a lover” (Scene 2, p. 24).

When she risks her life for the child’s, the Singer asks, “How will the merciful escape the
merciless/ The bloodhounds, the trappers?” (Scene 3, p. 25). Grusha does get some sympathy
along the highway. A peasant woman was willing to take the child until the Ironshirts came. The
servant at the inn tried to give her food. The merchants wanted to help her cross the ravine or
take the child so she could go on. Her brother gives her a roof for as long as he dares and
arranges a marriage for her. Yussup takes in both her and the child without asking questions. She
is given partial help but she is the one who has to sacrifice her whole life for Michael. The child
would not have survived but for her. She wants to tell Simon this when he comes for her but only
thinks it: “I had to tear myself to pieces for what was not mine/ But alien./ Someone must be the
helper” (Scene 4, p. 60).

18
Grusha deserves to be Michael’s mother because of what she passes on to him. From her, his
inheritance will not be money or rank, but wisdom: “I’ve brought him up according to my best
knowledge and conscience . . . I brought up the child to be friendly with everyone. And from the
beginning, I taught him to work as well as he could” (Scene 6, pp. 88, 89). She wants him to
treat others humanely, and that is a priceless gift for him and the future. Azdak recognizes this
humanity in Grusha, demonstrated by her unselfish letting go of the child’s arm so she won’t
hurt it.

Azdak himself is the other great example of human sympathy as he risks his own life for two
years to help the poor. It is a gre. In the case of Granny, for instance, who claims the stolen cow,
ham, and waiving of the rent were “miracles,” Azdak fines the farmers for not believing in
miracles. He sits on the floor with Granny and the bandit, treating them as equals. He calls
Granny “Little Mother” or “Mother Grusinia,” seeing her as the suffering poor. The Singer says,
“So, so, so, so Azdak/ Makes miracles come true” (Scene 5, p. 77). Miracles are not supernatural
events for Brecht, but human acts.

Justice

The play uses the dilemma of the child, and the debate of the communes over the valley, to ask,
what is Justice? Who should get the child? Who should get the land? Azdak the fool, who is
made into a Judge, works his way through to an answer. It is not an expected or a ready-made
answer, for, as the Singer comments, “Truth is a black cat/ In a windowless room at midnight/
and Justice a blind bat” (Scene 5, p. 75). Justice will never come from “willing Judges” like
Prince Kazbeki’s nephew (Scene 5, p. 75). Azdak’s antics, such as demanding bribes in the court
from the rich, comments on the accepted corruption. He says, “It’s good for Justice to do it in the
open” as he moves around in a caravan among the people (Scene 5, p. 75). Everything he does or
says satirizes the court system. He asks Grusha, “You want justice, but do you want to pay for it?
When you go to the butcher, you know you have to pay (Scene 6, p. 91). The rich are used to
equating money and rank with truth, but it is their truth, not impartial Justice. Out of Azdak’s
comic theater in the courtroom, he creates a crazy logic so that the people who need help get it,
despite the law. “His balances were crooked,” says the Singer (Scene 6, p 77).

Grusha, not understanding Azdak’s intent, scolds him for being corrupt. She claims that what
would be true justice is to choose “only bloodsuckers and men who rape children” for judges as a
punishment to make them “sit in judgment over their fellow men, which is worse than swinging
from the gallows” (Scene 6, p. 92). Judging is a punishment to an unjust man who will only
blacken himself with hypocrisy. This is the justice the poor are used to. Azdak’s reply to her is,
“I’ve noticed that you have a weak spot for justice” (Scene 6, p. 93).

19
 AfterAzdak rules in Grusha’s favor, the Singer states the principle of Justice that Azdak uses:
“what there is shall belong to those who are good for it, thus/ The children to the motherly. . . the
valley to the waterers” (Scene 6, p. 97). The play opens and closes with true justice served.

Corruption/Greed and Materialism

Corruption mainly is mainly manifested by accepting bribes. Corrupt individuals use their privileged
positions they have been entrusted with to make illegitimate gains, thus undermining their moral
integrity. They are usually driven by greed. Forms of corruption vary and can include bribery, extortion,
nepotism, and general embezzlement mainly of public funds.Greed is whereby a person wants to have
everything to him/herself. A materialistic person, on the other hand, is one who believes that money is
more important than anything else in life. In the text, greed and materialism are evident in the Governor,
the Fat Prince, Natella, the Mother-in-Law, the Corporal and others.

George Abashwili is materialistic. As he makes procession to enter the church fort Easter service, many
beggars and petitioners try in vain to reach out to him. We learn through his wife Natella that the
governor plans to tear down the slums to create room for the garden of the East Wing of palace. “All
those wretched slums are to be torn down to make room for the garden.” (pg 15)

After the coup and the beheading of the governor, we see Natella in a hurry to collect her dresses and
shoes. She abandons her son Michael as she runs for her safety. Later we learn that the main reason she
is claiming her son Michael from Grusha is to get inheritance of the vast governor’s estates.

The Ironshirts are corrupt. They use their privileged positions to execute others and in the process make
illegitimate gains. One Ironshirt says, “.......This morning they strung up the city judge. As for us we
beat them to pulp. We are paid one hundred piasters per man, you understand?” The iron shirts follow
Grusha and Michael since a good price is offered.

Azdak, the judge, is corrupt and openly takes bribes in the court before listening to a case. He begins by
saying, “I accept,” meaning that he is willing to be bribed. As Azdak executes his duties, his deeds do
not measure up to the expected standards. He makes controversial judgments that put his integrity into
questions. He sits on the statue book when delivering justice. A pointer to his contempt for what is just.
He also takes wine in public as he executes his duties.

Georgi Abashwili is not satisfied with his riches. He is as rich as Croesus and yet he still wants to
acquire more land by demolishing the houses of slum dwellers. While, many of the Governor’s people
and their children are sleeping hungry, the Governor is preparing to have geese for dinner.

Natella is materialistic in the way she values her clothes and jewelry. She is not satisfied with what she
has and still complains about her husband only building for his son (p.19). After her husband is arrested,
she forgets about him and her baby and instead concentrates on ensuring that she carries all her clothes.

20
In the end, she only bothers to look for Michael after she realizes that she needs him on order to inherit
her husband’s estates.

The Fat Prince and the other princes organize to overthrow the Grand Duke and the Governor. This is
purely out of greed for power. The Fat Prince is greedy over his brother’s wealth and power that he
wants to take it by force. Because of greed for power, he plans to have one of his relatives as Judge too.

The Mother-in-Law is also seen to be greedy and materialistic. When Lavrenti goes to seek for a
husband for his sister, the Mother-in-Law demands for four-hundred piasters. When she discovers that
Grusha has a child, she demands another two-hundred. Instead of hiring a priest to conduct the wedding,
the Mother-in-Law goes to look for a monk, who would be cheaper. She also complains about spending
money to take care of the mourners.

Greed and materialism is also evident in the Old Man who demands three piasters from Grusha for milk.
The Old Man does not care that the milk is for the baby and Grusha is forced to use her two week’s
wages to buy it. When Grusha leaves Michael on the doorsteps of the Peasant Couple, the husband tells
his wife not to feed the baby but instead to take it to the village priest. Even the Corporal is materialistic
when he decides to sell their horses and walk instead when pursuing Grusha and Michael (p.33)

A society that is greedy and materialistic becomes morally bankrupt. Greed and materialism leads to
other vices such as corruption, exploitation and selfishness. When people value money or property too
much, they lose important human values such as generosity, kindness and love for one another

Abuse of Power/ Misuse of Power

Abuse of power occurs when people in authority misuse the power bestowed upon them by virtue of
their position or office. One may misuse his/her powers to enrich him/herself or to mistreat others. In the
text, power is abused by the Governor, Natella, the soldiers / Ironshirts and the Fat Prince.

The Governor abuses power by enriching himself whereas his people remain poor. He is said to be as
rich as Croesus, with very many horses and a vast estate yet many of his people are beggars. When he
goes to church, he is confronted by many beggars, petitioners and mothers with hungry children. They
cry for him to reduce the high taxes (pg. 14). His son has two doctors (p. 15) and he is said to be
preparing to tear down slums to start the building of the east wing of his garden. He does not care about
where the poor, slum people will go.

Natella is also seen to abuse her powers through her treatment of servants. She orders them around,
insults them and even uses physical violence on them. For example, she beats up a young woman whom
she accuses of almost tearing up her dress. She tells her, “I’ll kill you, you bitch!” (p.24)

21
The Ironshirts/soldiers also abuse their powers on many occasions. They lash the people with thick
whips when they move nearer to see Michael. The Corporal also abuses his powers when harassing
Grusha by making sexual advances at her (p. ). The soldiers also use violence on Azdak when they beat
him on realizing that the Grand Duke is back.

The Fat Prince and the other princes also abuse their powers by overthrowing the Grand Duke and his
Governor. The Fat Prince goes ahead and raids his brother’s palace and arrests the Governor. He then
kills him and orders the Ironshirts to hang his head on the door. He also orders them to look for Michael
and to kill him (p.28). He also tries to have his nephew, BizerganKazbeki, appointed as the new Judge
(p. 71).

Azdak also abuses power by favouring the poor in his judgments. Though his actions are motivated by
the injustices that the poor have endured, he misuses his powers as judge in seeking revenge. He, for
example, rules in favour of the bandit who is clearly a criminal.

Finally, it is the misuse of power that leads to other social ills such as injustice, violence and political
instability. When those who are entrusted with power in society misuse it, it begets social and political
turmoil. The citizens will find it difficult to obey authority if those in power do not obey the rules they
expect others to follow.

Love/Compassion

The playwright explores the theme of love and friendship through various characters in the play. This is
mainly portrayed through the parental love between the governor and his son Michael, Grusha, the
kitchen maid and Michael, Grusha’s romantic love with Simon Shashava and finally between Grusha
and her brother LavrentiVashnadze.

Michael does not experience the motherly love from his biological mother NatellaAbashwili.
Fortunately, his father, the governor of the Caucasian City bestows on Michael fatherly love. Michael is
attended to by two doctors who never mover from his side to keep him in good health. The Fat prince
also notices the child on their way to church and comments that, “And little Michael is a governor from
head to foot!” (pg 15). Natella, Michael’s biological mother, is jealous of the attention Michael is given
by his father. She says it is impossible for them to live in the slum but her husband would build the East
Wing for Michael since he is the apple of the governor’s eye. “..............will only build for little
Michael...........Michael is all.......... (pg 18-19). Finally she abandons him.

Grusha loves Michael. She has to overcome a strong tide of opposition from the other servants before
she rescues Michael. The groom tells her, “Better put him down, I tell you. I’d rather not think what’d
happen to anybody who was found with the baby.” (pg 27) The older woman tells her, Grusha, you’re a
good soul, but you are not very bright, and you know it. I tell you, if he has plague he couldn’t be more
dangerous.” (pg 27). Grusha watches over Michael the whole night and by morning as the writer puts it,
the seduction between Grusha and Michael i complete, “.............till morning the seduction was
complete.......she crept away,”(pg 29). She also saves the child from being killed by several iron shirts.

22
Just like a mother who loves her child, she makes several sacrifices. She is forced to buy him milk at an
exorbitant price using her meagre weekly pay. She risks her life to save Michael by hitting a corporal
with a wooden log and crosses over to the Northern Mountains using a broken bridge. She has to marry
a “dying man”- Jussup- for Michael’s sake and thus risks her engagement with Simon Shashava.

The climax of Grusha’s love for Michael is shown at the trial scene. Grusha defends for her love
towards Michael by saying that she brought him up and that she married because of Michael. When
Azdak, the judge, asks for Michael so that he can choose his true mother, Michael’s love for Grusha is
seen when he smiles at her. After drawing the Chalk Circle, Azdak orders the two women to pull the
child out of the circle. Meanwhile, Grusha refuses to pull portraying her motherly love and finally she
says, ‘I brought him up! Shall I also tear him to bits? I can’t.” (pg 98)

As Grusha flees to the north, she comes across a bridge on the glacier. She is determined to cross but the
merchants caution her against risking her life and that of Michael, The merchant woman tells her, ‘But
you can’t take the child on that bridge. It’s sure to break. And look! (pg 41) The next man warns her to
think of the baby, “I think of the baby. Risk your life not a child’s (pg 41). This shows their love and
compassion for Michael.

The love relationship between Grusha and Simon is romantic. It is already sealed through an
engagement. They exchange intimate words and inquire about each other’s background. Simon removes
a chain from his neck and tells Grusha, “...........my mother gave me this cross.....please wear it.” (pg 22).
Grusha promises Simon that she would wait for him. She says, “Simon Shashava.....it is just as it was.”
(pg 23). Grusha is introduced to the idea of getting married to Jussup due to the illegitimacy of the child.
However, deep within her, she loves Simon and wishes that the union would not last long so that she
may re-unite with her fiancé whom she thinks would willingly take care of Michael. This turns out to be
true.

True love unfolds when Simon testifies at the court that he is Michael’s father. “I am the father, your
honour.” (pg 93). The climax of the sincere love for each other is portrayed when Grusha informs Simon
that, “Now I can tell you: I took him because on that Easter Sunday I got engaged to you. So he’s a child
of love. Michael, let’s dance.” (pg 99). This she does after the judgement where she wins the child.

When Grusha runs to the North and arrives at her brother’s house, her brother sympathises with her and
gives her a roof and even makes arrangements for her to get married to the “dying” man, Jussup. After
the marriage, Jussup takes in both her and the child without asking questions, It is her compassion for
Michael that makes her to agree to be married yet she is engaged to Simon.

Negligence of Duty /Irresponsibility

Negligence refers to failure to give somebody or something enough care or attention. It also refers to
failure to perform one’s duty which impacts negatively on others.

23
GeorgiAbashwili is the Governor and therefore responsible for the welfare of his subjects. Although he
is rich, he has so many beggars from the gateway, holding up thin children, crutches and petitions.
Although they have come for help, he does not attend to any. It is Easter and therefore one would expect
he would be compassionate enough to listen to their grievances. They complain of taxes being high. One
petitioner laments: “The child is starving in my arms (pg 14). Although there is a servant collecting their
grievances and another distributing coins from a purse, none of their petitions is attended to and
eventually they are driven back with whips.

Despite being in a high position and being responsible for the welfare of the people, we are surprised to
learn that, he knows nothing about the approaching war and therefore no safety measures have been put
in place. When asked about the war, he indicates lack of interest.

The Governor has ignored the plight of his subjects. There are so many of them in the slums. To make
matters worse he has decided to tear down the slums to make room for a garden for the East Wing he is
about to construct. People are complaining of hunger, yet his child has two doctors, the two doctors are
also irresponsible in that none wants to take responsibility over the discomfort of the child. They blame
each other over lukewarm bath water used to bath the child.

The governor is informed by his Adjutant that an injured young rider has come as a messenger from the
capital, bringing him confidential papers. He neglects his responsibility to see him and after waiting in
vain the messenger mutters a curse and leaves. We are not surprised when we learn that the plotting
against the Governor by The Fat Prince happened in the capital therefore we can guess that the
messenger comes to warn him. Eventually, the governor loses his life.

It is strange that the Governor refuses to talk to the wounded Rider when he appears again but prefers to
confer with the architects. The Adjutant says of him, “The governor does not wish to receive military
news before dinner- especially if it’s depressing (pg 19). Because of his irresponsibility in choosing his
priorities, he is caught unawares and is beheaded. That is why the singer laments over the blindness of
the great who, “...........go their ways like gods....sure of hired fists. Trusting in their power. But long is
not forever.” (pg 20)

It is the height of irresponsibility when NatellaAbashwili takes her time choosing the dresses and shoes
to carry. She finally leaves and forgets her child whom she had directed to be laid on the floor. She is
busy rummaging through clothing when the Adjutant is busy pleading that they should run for their
lives. She does not care about the many people she is exposing to danger by her delay, Maro, a servant,
realizes that, only beasts can leave children behind. She says, “They left it behind, the beasts” (pg 26)

Lavrenti, Grusha’s brother, is irresponsible and neglects her when he fails to look after her. He marries
her off to a total stranger and “a dying man” it becomes a double tragedy when Jussup does not die and
Grusha does not know what to do with a total stranger who is unaware of her plight and yet she cannot
marry her lover Simon. As an older brother of Grusha, Lavrenti fails in his responsibility to support her.

24
The monk hired to officiate the wedding is irresponsible. He agrees to join a girl to “a dying man.” We
are surprised that, the monk, a man who should be a role model is upholding morals in a society is called
from a tavern. He is drunk.

Religious Hypocrisy

Religion refers to having or showing belief in and reverence for a deity or a supernatural being; on the
other hand hypocrisy is deception by pretending to entertain a set of intentions while acting under the
influence of another. In “The Caucasian Chalk Circle”Brecht explores cases of religious hypocrisy
widely.

Act one of the play begins with Governor GeorgiAbashwili going for Easter mass. He is accompanied
by his wife Natella, and Michael, their child. Although he would like to pass as a devoted Christian, his
regime has oppressed the people it serves. As they enter the church, beggars and petitioners cry over all
sorts of problems that bespeaks of a people who have been living in an oppressive regime. They lament,
“Mercy! Mercy, your Grace! The taxes are too high. –I lost my leg in the Persian war....The child is
starving in my arms....the water inspector takes bribes...... (pg 14)

As for the Fat Prince, hypocrisy reigns supreme. He attends church, wishes the Governor a happy Easter
Sunday and bows before Michael. He tickles the child after commenting, “I love a gay sky.....little
Michael is a Governor from head to foot!” (pg 15). He also tells the governor there is good news after so
much bad. This is total deception that he is loyal to the Governor’s family. Plans to behead the Governor
and end Michael’s life are already in place. While he directs the soldier to fasten the Governor’s head in
the middle, he displays his hypocrisy when he says, “This morning at the church....Abashwili...I love a
gay sky....prefer the lightning that comes out of a gay sky.” (pg 28)

The Monk who is supposed to be religiously perfect is portrayed as hypocritical. He presides over the
wedding between Jussup and Grusha while drunk. He is found in the tavern (perhaps taking alcohol) by
Grusha’s mother-in-law who threatens to expose him. He is also paid to do the same. Even when Jussup
fails to take the vows and instead his mother does it on his behalf, he goes hiding and he has to be
looked for by the mother-in-law. Being a religious person, his character should be beyond reproach.

It smacks of religious hypocrisy for Jussup to go through the rigors of a wedding, a much valued
religious ceremony, yet he knows he is pretending to be a dying man.

The mourners are also hypocritical. They gobble down the cake without being seriously mournful. They
seem to expectantly look forward to the death of Jussup. They are sincerely not sad, only greedily
wolfing down the funeral cakes.

Aniko pretends to have religious principles that she does not practice . In fact, her hypocritical nature is
displayed in her meanness. Lavrenti says she is very sensitive, “People need only mention our farm and
she is worried.” (pg 48). Her servants seem to suffer under her as she shouts orders all over. The maid

25
may not be well paid. She once goes to church with a hole in her stocking. Ever since, Aniko has worn
two pairs of stockings in church. She is truly hypocritical, feigning to be concerned about Grusha yet she
is not. She has false appearance as a devout woman. Lavrenti is afraid of her. He tells Grusha, “You
can’t stay here long with the child. She id religious, you see.” (pg46). Aniko is portrayed as being really
heartless.

Lavrenti is also hypocritical. He also makes Grusha who is honest to be dehumanized by leading her to
engage in a fake wedding. He cannot stand up for his sister but sings to the whims of Aniko, “You need
a place to go......because of the child.....have a husband, so people won’t talk.....can find you a husband.”
(pg 48)

The mother-in-law is hypocritical. She deceives the mourners that Grusha is a bride to Jussup. She
pretends that Grusha came from the city to find Jussup alive. The first woman confidentially seems to
know Jussup is faking illess and near death to avoid conscription to the war. Another feels it would be a
blessing if he does not suffer too long; so she wishes he dies especially now he is of no use as a farmer
as the corn is ripe and there is no one to harvest.

Self-Sacrifice and Selflessness

Selflessness is whereby puts the welfare of others ahead of his or her own. A selfless person will
sacrifice what he/she has to the benefit of others who may be less privileged or vulnerable. In the text,
Grusha shows a lot of selflessness especially towards Michael who is not her real child.

Grusha is the best example. When the governor’s wife and her personal servant forget Michael, Grusha
takes care of him. Other servants advise her to abandon the child for her own good. One old woman tells
her, “Grusha you’re a good soul, but you are not very bright and you know it. (pg 27) Grusha tries to
leave Michael but realizes she cannot. The singer tells us that after looking at the baby, Grusha hears as
if it is telling her, “woman” it said,’ Help me” (pg 28)

Despite the danger in town, Grusha watches over the baby the whole night and the next day takes him
with her. On the way she has to buy the baby milk. When the old man sells to her the milk so
expensively, she decides not to buy, but on realizing the baby needs it so badly and the journey is long
she goes back and buys the milk.

The baby’s weight weighs on her back but she moves on. She decides to save the baby from starving by
leaving it outside the door of a Fat peasant woman. She tells Michael, “The peasant woman is kind, and
can’t you just smell milk” (pg 34) She hides behind the tree and observes the woman carry the baby into
the house.

She risks her life when she hits the corporal to save the baby. “Again looking round in despair, she sees
a log of wood, seizes it, and hits the corporal over the head from behind” (pg 39). It is during her escape
that she decides to adopt the baby.

26
Grusha risks both their lives on order to get away from the Iron shirt. This is when she reaches Janga-
Tau Glacier. No amount of warning can stop her and she crosses the dangerous bridge after turning the
offer by the merchant woman to hide the baby for her. “I won’t, we belong together.....live together, die
together.” (pg 41)

Grusha has to bear the discomfort of her brother’s home. She makes another sacrifice as she has to live
with a hard to please sister-in –law. To survive she has to be crafty. She tells Michael they have to be
“As small as cockroaches.. the sister-in-law will forget we are in the house.” (pg 47)

Grusha, who is already engaged to Simon and has promised to await his return ends up getting married
to a ‘dying man’ Jussup-to make Michael have a legitimate father. This is another sacrifice that she
makes.

She endangers her life by following the Ironshirts who have taken Michael. She is a wanted person for
having attacked and injured a corporal. What matters to her is Michael. She goes through the court
procedure for Michael. It is out of her self-sacrifice that eventually Grusha wins the case.

Other characters who make sacrifices for the welfare of other people are;

 Simon’s commitment to Grusha calls for sacrifice. He has been away for two years and remained
loyal to her.
 Simon’s big sacrifice to accompany the Governor’s wife as her guard to Tiflis.
 Shalva the adjutant makes sacrifices when her helps Natella escape during the coup. He remains
loyal to the governor’s family despite the risks as the public has turned against the authority.

Justice

There is a lot of injustice in the text mostly perpetuated by the rich, the powerful and those in authority.
The people seek justice through the courts, through petitioning the Governor and sometimes through
seeking revenge on their own. Justice is dispensed primarily through the court system. However, this is
not as portrayed in the text.

In the prologue, the Delegate from Tiflis comes to hear and determine the case between the Goat
Herders and the Fruit Growers. Justice is seen to be served when, first, each group is given a chance to
explain why they deserve the farm. After their presentations, the Delegate decides in favour of the Fruit
Farmers because they have more elaborate plans for the farm. Even though the Goat Herders are the
original owner of the land, they don’t have any meaningful plans for it. The verdict in this case is arrived
at on the basis of reasonable consensus rather than strict law. The two parties are satisfied with the
decision and they decide to partake in drinking together.
27
The people also seek justice through petitioning the Governor. However, this not a good option because
he does not heed to their cries and instead they are whipped and pushed back by the Ironshirts. The
beggars and petitioners have various grievances including; too much tax, corrupt officials, arrested
family members etc. When the Governor is overthrown by the Fat Prince, the people feel a sense of
justice which is, however, short-lived.

The court is specifically established to dispense justice to all. However, in the text, the people have little
faith in the court which is seen to always rule in favour of the rich. After the Governor is killed, even the
City Judge is hung because he is also seen to be part of the injustices suffered by the people.

Judge Azdak represents justice, especially to the poor. When he discovers that he has been harbouring
the Grand Duke, he tells Shauwa to take him to the City (Nuka) for judgment. Unfortunately, at Nuka,
the city Judge has been hung and Azdak cannot get the justice he wants. Ironically, Azdak is appointed
judge after he impresses the Ironshirts with his knowledge of the legal system and the injustices that the
people have suffered.

Judge Azdak practices a brand of justice that, in some cases, sets the guilty free and punishes the
victims. He, largely, rules in favour of the poor as a way of addressing the injustice that they have long
suffered. For example, he rules in favour of the Doctor, who is accused of neglecting his patient. (p.77),
he rules against Ludovica who is a ‘victim of rape’, he acquits the Old Woman accused of theft, he rules
in favour of Grusha and even ‘erroneously’ signs off the divorce of Grusha and Jussup instead of the Old
Couple.

Some people, like the Farmers, feel aggrieved by his ‘unfair’ rulings and seek their own justice through
revenge. They beat him up when they realize that the Grand Duke is back and the war is over.
Surprisingly, the Grand Duke reappoints Azdak as City Judge which saves his life. Azdak enjoys some
justice from the Grand Duke for the help he had offered him when he was on the run.

There cannot be peace without justice in society. Those who are treated unfairly and unjustly will
always look for ways to get some justice. Even though the courts are the main avenues for seeking
justice, they can only be useful if people have faith in them. The courts should also view people as being
equal and hence dispense justice without fear or favour.

Social Class Inequality/ Social Stratification.

Social class inequality is a situation whereby a society is divided into groups according to their
economic, political and social status. In the text, the difference between the rich and the poor is very
pronounced. While the Grand Duke, the Governor, the princes and their families are affluent, other
members of society are poor and dying of hunger.

There is existence of social classes in the society described in The Caucasian Chalk Circle. There is
unfair difference between groups of people in this society. Some are wealthier than others and enjoy a

28
higher status or opportunities as opposed to others. The diverse lifestyle enjoyed by the governor and his
family is in contrast to the object poverty the lowly citizen has to endure. GeorgiAbashwili is “rich as
Croesus” (pg 13) “had a healthy baby ...so many horses in his stable (pg 13-14) In sharp contrast “so
many beggars in his door step so many petitioners his courtyard.....He enjoyed his life” (pg 14)

GeorgiAbashwili, the governor, is as rich as Croesus, while he has many beggars in his doorsteps and
petitioners in his courtyard (p.14). He has “a healthy…many horses…” (p.13-14) and yet, many of his
people live in slums. When he and his family goes to church, the baby is brought in an expensive
carriage accompanied by two doctors. The poor people, on the other hand, display their thin, emaciated
babies while others hold up crutches and petitions.

The children of the poor are sent to war but when they get injured, they are not compensated. The
children of the rich, on the other hand, are not sent to war. Some of the petitioners beg for mercy for
their relatives who have been arrested unfairly, “My brother is innocent, Your Grace,
misunderstanding…” (p. ). While one of the Governor’s servants collects the petitions, another
distributes coins from a purse with the Governor paying little attention.

The poor people in the text are not supposed to intermingle with the rich. When the people move
forward to air their grievances to the Governor, the soldiers lash them with whips. Even when they only
want to see young Michael, they are forced back by the soldiers violently. (p.14)

Despite all the poverty around, the Governor has employed two doctors to look after Michael even
though he is not sick. Poor people such as Grusha cannot get even time to go to church on Easter Sunday
as she is forced to go and look for a goose for the family dinner. Despite her hard work, she will not
even eat it herself, “I’ll eat the feathers.” (p.17)

The poor people in society have to put their lives at risk in order to protect the rich. Simon Shashava and
the Adjutant, for example has to escort Natella to the Capital. Even though he wants to remain behind
and marry Grusha, he has no choice but to follow orders. Natella risks the lives of her servants by
delaying their exit from the palace that is under attack. She wastes a lot of time sorting out her dresses
and jewelry until the Adjutant has to force her to leave (p.25).

The people in higher positions mistreat those below them. For example, the Corporal harasses and
intimidates one of the young soldiers because the soldier was unable to beat up the husband of a fat girl
they had met. He even tells him that he won’t get promoted (p.33). The Corporal sells the soldiers horses
and forces them to walk without limping – even though they are tired. To add salt to injury, he forces
them to sing louder and louder.

In the courtroom, Natella says, “At least there are no common people here, thank God, I can’t stand their
smell. It always gives me migraines.” One of Natella’s lawyers also describes Azdak as, the lowest

29
fellow ever seen in Judge’s gown.” (p.88) Natella also refers to Grusha as, “a creature” and when she
sees Michael dressed in rags, she says that he must have been in a pigsty.

Even though Azdak makes an attempt to address inequality in this society, the return of the Grand Duke
shows that class inequality in society cannot be fully eradicated. Poor people in society will always
suffer injustices and prejudices in the hands of the rich.

Betrayal

Betrayal means to hurt an individual, group or country by going against its/his/her trust in you. One
can betray another by harming him/her or by helping his/her enemy. In the text, betrayal can be seen
in the Fat Prince, the Ironshirts, the Servants, the doctors, the Peasant woman, Natella, Jussup and
Grusha.

The Fat Prince betrays his brother, the Governor, by plotting to have him arrested, assassinated and
removed from power. When the Governor goes to church, he meets the Fat Prince who wishes him a
happy Easter and pretends to be happy to see the governor’s baby – Michael. After the Fat Prince gets
the Governor killed, he takes over power and sends the Ironshirts to look for Michael and kill him.

The Governor’s servants and doctors also betray him. As soon as the Governor is arrested and the war
breaks out, they all run away. One of the servants tells Grusha to leave immediately, and not to save
Michael. One of the doctors also says that he cannot stay a minute longer in that accursed house
“…on that little brat’s account.” (p.21)

Betrayal is also evident among the Ironshirts. After the Governor’s palace is attacked, the guards
whose work is to defend him refuse to do so. They refuse to obey and instead stare coldly and
indifferently at the Adjutant who tries to give them orders. Only the Adjutant and a few Ironshirts
remain loyal by protecting the Governor’s wife and escorting her to the capital.

The Peasant Woman betrays Grusha by revealing to the Corporal that Michael is not hers. This is in
contrast to what she had promised Grusha about keeping the identity of the child a secret. This
betrayal forces Grusha to go back and take the child, hitting the Corporal in the process and hence
endangering her life and that of Michael even more.

Lavrenti, Grusha’s brother also betrays her by arranging to have her married off instead of
accommodating her. Grusha expects to be welcomed warmly and given a place to stay until Simon
returns but instead she is hidden because her brother’s wife does not want embarrassment. She is even
forced to lie to her sister-in-law that she is on her way to meet her husband in order to be allowed to
stay with a child. (p.47)

30
Jussup betrays his country by refusing to join other young men in going to war. He instead lies in bed
pretending to be seriously sick. Immediately he learns that the war is over, he wakes up, much to the
surprise of everyone in the room.

Natella betrays her husband and child when the war breaks out. She escapes from the palace and
leaves Michael behind. She tells one of the servants to put the child down and instead go to look for
her little saffron coloured boots to match with her green dress. She does not even show remorse for
her husband’s death and does not bother to look for Michael until she is told that she cannot inherit
her husband’s estates without him.

Grusha also betrays Simon by agreeing to marry Jussup. Simon and Grusha had made a promise to
each other to get married as soon as he returned from escorting Natella to the Capital but when he
comes back, he finds Grusha married and with a child. Even though Grusha gets married because of
unfortunate circumstances and the child is not hers, Simon is angry and disappointed because he
cannot marry her. After realizing the truth about Grusha’s marriage, Simon decides to support Grusha
even in court.

In conclusion, betrayal is the source of all the major events that take place in the text. It is the betrayal
of the Governor that leads to war in the city which in turn forces Grusha onto her journey. The rich
and those in power also betray the poor and those whom they are expected to serve. Characters such
as Azdak try to address the injustices of those who feel betrayed.

Political and Social Instability

Political and social instability in society is a result of poor leadership. Poor leadership on the other
hand, leads to other social problems such as hunger, insecurity, injustice and poverty. When the
people get fed up, they may choose to forcefully remove those in office through a coup or an
uprising. This, in turn, brings about political and social instability through war.

In the prologue, the setting is in the ruins of what was once a thriving Caucasian village before the
war (p.7). Everything in the village has been ruined; tobacco is rationed and wine (p.8). The villagers
have also lost many people as a result of political warfare. The Goat Herders have been forced to
leave their land and go elsewhere on orders from the government.

The effects of warfare are also evident in Nuka where the Governor is confronted with many beggars,
cripples and petitioners. A lot of resources have gone to finance the war which has resulted to hunger
and poverty among the people. Many soldiers have died with others suffering injuries – this has
resulted to many cripples in clutches. To make matters worse, the Governor is contemplating bringing
down their houses (slums).

31
Political instability often affects the poor more than the rich. The singer comments: “when the house
of a great one collapses, many little ones are slain” (p.20). Political instability leads to displacement
of people as evidenced by the Grand Duke, who has to run and seek refuge in the house of Azdak.
Natella also has to run to the capital for her own safety while Grusha heads for the North.

Political instability also creates food shortages as seen when Grusha is unable to get milk for Michael.
She is force to pay two piasters for a little drop. The Old Man says, “We have no milk. The soldiers
from the city have our goats. Go to the soldiers if you want milk.” (p.31)

Warfare instills fear in people as evident in Jussup. He feigns sickness to avoid being drafted into the
army. The Peasant Woman is fearful of the soldiers that she denounces Michaela and betrays Grusha
to the Corporal. The Grand Duke, Natella and Grusha run away from the City due to fear after the
war breaks.

Political and social instability give rise to many other social evils such as corruption, violence,
irresponsibility, negligence of duty etc. Warfare has many adverse effects to people in society. These
include: displacement of people, fear, food shortages, insecurity and injustice.

Deceit, Religiosity and Hypocrisy

Deceit is dishonesty whereas hypocrisy is when a person’s actions are different from what s/he says.
Religiosity, on the other hand, is whereby one pretends to be religious but his/her actions are
contrary to the religion that s/he follows. Many characters in the text are either, deceitful, pious or
hypocritical.

GeorgiAbashwili, the Governor, is deceitful and hypocritical when he and his family attend church
on Easter Sunday. On the doorway, they are met by beggars and petitioners, who want help from
him. He, however, does not bother to listen to their cries and instead allows his bodyguards to whip
them and push them back. This is contrary to what a devoted Christian should do. While the family
goes to church, they don’t care to allow the servants, like Grusha, time to go to church as well.

The Fat Prince is deceitful and hypocritical when he also attends church and even wishes his brother
a ‘happy Easter Sunday’ and bows before Michael. (p.15). The Fat Prince does all this while he
knows that he will behead the Governor after the church service.

Religiosity, hypocrisy and excessive piety is displayed by Aniko. When Grusha arrives at her
brother’s, she is hungry and worn out but instead of Aniko welcoming her warmly and sympathizing
with her, she questions her especially about the child. When Grusha collapses due to fatigue, Aniko
quickly accuses her of carrying scarlet fever – a dangerous infectious disease.

Grusha is forced to lie to Aniko that she is married and that she is going to meet her husband in the
mountains. This is after Lavrenti warns her that Aniko is very religious and will not allow her to stay
32
if she has a child with no father. (p.45-46) Aniko’s hypocrisy is seen by the way she shouts at her
servants and how she wears two pairs of socks to church – ever since her servant was seen in church
with a hole in her stocking.

Lavrenti is hypocritical as well when he pretends to help Grusha by marrying her off to a ‘dying
man’ instead of giving her a place to stay in his own home. He even uses his own money to pay off
the Mother-in-Law to accept the marriage to take place.

The Monk is hypocritical when he accepts to be paid to keep quiet about the existence of a child. He
is also dishonest because he is drunk instead of being a role model for others in society. The
mourners are also hypocritical by the way they seem to be concerned with the food being served
instead of the impending death of Jussup.

Jussup is deceptive when he pretends to be a person who is sick and whose death is imminent. He
fools everybody, including his own mother, to the point that a funeral is arranged. When he learns
through what the guests are saying, that the war is over, he makes a sudden recovery much to the
shock of the guests.

Grusha suffers as a result of the deception, hypocrisy and religiosity around her. She suffers under the
roof of the Governor, she is mistreated in her brother’s house and because of Jussup’s deception, she
gets a husband she does not want

Conflict / Antagonism

A conflict is a disagreement between two or more individuals or groups. The text addresses several
conflicts such as: the conflict between the two land owning groups; the rich and the poor; the
Governor and the Princes; Grusha and Natella; and Grusha and Jussup.

Firstly, the play begins with a conflict between the Goat Herders’ Collective Farm and the Fruit
Growing Commune. These two groups quarrel over the ownership of the valley that has been left by
the Soviet army after the end of the war. The Fruit growers want to develop the land for farming
while the goat herders want it because it originally belonged to them. A Delegate from the State
Reconstruction Commission is sent from Tiflis – the capital, to hear their case. A decision is made to
award the fruit growers because of their good plans for the valley.

Secondly, the poor and the rich are in conflict over resources. The Governor, George Abashwili, is
extremely rich yet he ignores the plight of those under him. His courtyard is filled with beggars and
petitioners who want his assistance but he gives them the deaf ear. He ignores the pleas from the
beggars and parents holding emaciated children in their hands. Instead, the Ironshirts whip and push
back the poor to give way for the Governor and his family. In contrast, the Governor spends a lot of
money on his son’s clothes, carriage and even intends to build him a palace. He also has plans to

33
 demolish slums belonging to the poor to give room for his garden. The poor welcome the death of the
Governor and support the coup that also overthrows the Grand Duke from power.

Thirdly, the Princes have a conflict with the Governor and the Grand Duke. The country is at war
which is being fought by the Princes. The Princes, however, feel that they are not receiving enough
support from the Grand Duke and the Governor. They devise a plot to overthrow the two leaders by
killing them. While the Grand Duke manages to escape, the Governor is caught and beheaded in his
palace. Eventually, the Grand Duke secures support from other countries and he manages to take back
his seat and kills the Fat Prince and the other conspirators.

Fourthly, there is the main conflict which is between Natella and Grusha over who should keep the
baby Michael. Their case is taken before judge Azdak who orders that a chalk circle be drawn on the
floor of the court and the two women ordered to pull Michael from the centre. After Natella wins
twice, the judge rules that the child be given to Grusha since she shows motherly love by not pulling
too hard.

Finally, there is a conflict between Grusha and Jussup. This happens after she gets married to him
while thinking that he is about to die. After it is announced that the war is over, Jussup wakes up and
starts to mistreat Grusha by ordering her to treat him like a husband. “…Get the brush! To hell with
you! Are you the wife here? Or are you a visitor?…you’re my wife and you’re not my wife….God
has given you sex – and what d’you do? I don’t have ten piasters to buy myself a woman in the city.”
(p.56-57) Grusha, finally, manages to divorce him.

LANGUAGE AND STYLE

Style in literature can be described as how the author uses literary elements such as words, sentence
structure and figurative language to describe events, ideas and objects in their work.

Stylistic devices refer to a variety of techniques used by writers.

Play Within a Play

Play within a play involves having another play within the main play. It is important as it helps in plot
development, bringing out various themes and character traits. The play “The Caucasian Chalk Circle”
is three stories presented in one; The story of the Goat Herders and Fruit farmers, The story of Grusha
and Michael and The story of Azdak as the judge. These are thus presented as plays within the main
play.

The story of “The Caucasian Chalk Circle”, borrowed from a Chinese tale is presented as a play within a
play. There is a meeting of the delegates who are trying to resolve the puzzle of who owns the piece of

34
land between the fruit farmers and the goat keepers. When an agreement is reached, the peasant woman
on the left invites Arkadi Tscheidse, the singer, to entertain them.

There is also a play within a play when Michael and other children enact the beheading of the Governor.
It is used to show the extent of evil in society as the children who are so innocent clearly portray it.
Michael refusing to be the one to be beheaded shows he is the chip off the old block-the Governor’s son.
It is also a satire of criticism of the senseless and cruel behaviour in the society. The play within a play is
used to bring out the self sacrificing nature of Grusha. As seen when she takes care of Michael as he
own son, through it various stylistic techniques such as use of song, Irony and flash back are evident.
Various themes such as hypocrisy, negligence of duty among others are also brought out.

The story of Azdak the judge is also a play within a play. It begins when Azdak helps the old beggar
who late turns out to be the Grand Duke. It ends with Azdak judging Grusha’s and Natella’s case using
“The Caucasian Chalk Circle.” This play within a play exemplifies the themes of justice, abuse of power
and greed.

Another play within a play is when the Fat Prince wishes to appoint his nephew BizerganKazbeki, as the
judge. He requests the drunken Iron shirts to vet him. They perform a mock trial which involves Azdak
who poses as the Grand Duke and the nephew poses as the judge. The Iron shirts takes up the roles of
the people who have come to listen to the proceedings of the case. Azdak is blames of running the war
badly but he instead blames the princes rather than himself. He is able to make several successful attacks
on the prince’s corruption. Here, we learn how the princes mismanaged the war and blamed it on the
Grand Duke. The nephew fails to make a judgement since he is out-witted by Azdak and the ironshirts
unanimously settle on Azdak as the judge. The first ironshirt tells him, “Go to the judge’s seat! Now sit
in It! (pg 74)

Juxtaposition/Contrast

This is a stylistic feature used by writers to put people or things side by side in order to show the
contrast or their differences. This style has been used to enhance dramatic effect.

The act of Governor George Abashwili entering the church is juxtaposed with the image of the soldiers
pushing the common people out of the way. This contrast undermines the religious significance of going
to church. This is exemplified when the soldier says, “Get back! Clear the church door.” (pg 14)

Grusha buys milk for Michael and pays two piasters. This is her week’s salary. This amount of money
used is a sacrifice for Michael. This contrasts the 100,000 piasters offered to Azdak by the Duke for one
night lodging ‘....persuasion! Pay hundred thousand piasters one night, I tell you...where are they?” (pg
64). This contrast is meant to bring to fore the glaring gap between the rich and the poor. This satirizes
the society that puts more value on money to show the difference in the levels of wealth in social
classes. Consequently, Azdak uses his position to take from the rich and give the poor. Thus, he fines the
rich invalid, The Blackmailer, the innkeeper, and the farmers all of whom are wealthy.

35
During the wedding of Jussup and Grusha, the monk says, “Dear wedding and funeral guests!” (pg 53).
This depicts two contrasting life eventualities, one representing continuity and the other- end.

There is also an instance of juxtaposition where the goat and fruit farmers are placed side by side to
establish the deserving owners of the valley.

Natella and Grusha are juxtaposed to establish the difference in level of love: true motherly love for a
child and love for material wealth.

Other characters that have been contrasted are Lavrenti with his wife Aniko, Simon and Grusha, Grusha
and other servants working for the Governor, among others.

Humour

Despite the occurrence of serious issues explored within the play, there are humorous incidents. We are
presented with doctors; Mika Loladze and MishikoOboladze. They are in charge of Michael and quarrel
over trivial issues.

“May I remind you.....that I was against the lukewarm bath ....more likely a sight draft during the night.
Your Grace....no cause for concern, your Grace.” (pg 15-16)

It is humorous that these two doctors described as dignified would quarrel over Michael’s coughing. In
another comic episode, the two argue over whom will take charge of Natellla now that she has fainted
after chaos and death erupt in the palace.

“Niko Mikadze, it is your duty as a doctor to attend Natella Abashwili....you neglect your duty........” (pg
21)

It is humorous to find the two going to an extent of fighting in the middle of a catastrophe. This humour
serves to lessen the tension that is created when George is assassinated. It also brings out the character
of the two doctors as incompetent and irresponsible characters.

When Simon encounters Grusha, there is humour when he says he watches over her as she washes linen
by the willows, “There’s more. Your toes and more....your foot and a little more....(pg 18)

There is humour when a drunken peasant sings, “There was a young woman who said: I thought I’d be
happier, wed but my husband is old and remarkably cold so I sleep with a candle instead” (pg 54)

When Shauwa knocks at the door, Azdak says that he is not in. Azdak explains himself to Shauwa
possibly to escape the arrest. “....Shauwa don’t talk about things you don’t understand. The rabbit is
dangerous and destructive beast. It feeds on plants especially on the species of plants known as weeds. It
must therefore be exterminated, “he adds, “I........man is made in God’s image. Not So a rabbit....I’m a
rabbit-eater, but you’re a man eater...go home and repent.” (pg 65)

36
Satire

Satire refers to the way a writer ridicules an individual or the society in a humorous way, with an aim of
bringing desirable change.

The playwright exposes weakness of leaders who have been entrusted with power and fail to do what is
expected of them. People are oppressed and live in misery. The beggars and petitioners are crying that
they do not have enough to eat and they feel neglected.

The governor and his wife pretend to be religious yet they display their contempt for the lowly class.
The governor is a political leader but surprisingly, lacks interest in political matters. He ignores the rider
who has confidential papers from the capital in preference to personal matters. Instead, he meets the
architects to discuss building plans. The governor is ignorant of serious issues such as a meeting held by
princes in the capital in which a coup was planned, ironically, one of the architects is fully aware of the
plan to overthrow the Grand Duke and his Governors. (pg 15). His political nature is being ridiculed
because being in political position means he ought to accord political matters serious consideration.

The police administration’s brutality is satirized for the inhuman treatment of the suffering lot. They lash
them with whips to keep them away from the Governor and his family instead of sympathizing with
their plight.

The Fat prince pretends to be so much pleased with the governor’s family that he even bows and
remarks sarcastically that Michael is a ‘governor from head to foot’ and yet he had planned to kill the
Governor that very day. When he tells the Governor he loves a gay sky, he is not sincere.

Aniko, wife to Lavrenti and sister-in-law to Grusha claims to be religious, However, she is presented as
mean, egocentric, selfish and inhospitable. She bullies around her husband and tries to throw Grusha out
of the house as she fears what the neighbours will say for hosting an unmarried woman with a child.

The monk’s religious hypocrisy is also satirized. He is expected to be religiously inclined but he has
many weaknesses. He oversees Grusha’s marriage to Jussup while drunk. He is actually paid to perform
the ceremony but as a monk, he is expected to devote his life and time to religious matters, which he
does not.

The Governor’s wife is satirized through her vain behaviour. She does not have time for the poor
beggars and her servants and only identifies herself with people of class. After the coup her main
concern is the clothes she is going to carry, “only essential!.......the green one! And of course, the one
with far trimming.....”(pg 24) On the same page she adds, “........get my little saffron-coloured boots..... I
need them for green dress.” In haste to save her dresses, she leaves her son Michael as she flees.When
Michael coughs Natella’s attention is drawn to him and she wants to know what is up. She even asks her
husband whether he had heard the baby cough. She then givens a stern warning and advises the two
doctors in charge of the child to be more careful. When he sees Michael after he is brought in by the
ironshirts, she remarks that “He’s in rags” (pg 97)

37
Natella has very low regard for the underprivileged. (pg 18), she says, ‘It’s impossible to live in
sucslum,,,,” When she enters the court, she is relieved that there are no common people: “I can’t stand
their smell. It always gives me migraine. (pg 88) From the onset, she dislikes Azdak and (pg 89) she
says, “I disliked that man from the moment I first saw him.” This foreshadows the fact that she may not
get a fair judgment from him.

Irony

Irony occurs when the opposite of what might be expected happens. It is also the use of words that
convey a meaning that is opposite of its literal meaning. There are different types of irony for example
verbal irony where the speaker says direct opposite of what is meant. Dramatic irony occurs when the
audience knows facts in a text which a character in the text is ignorant of. Other types of irony are
situational, comic and tragic iron

Verbal irony:This is also known as sarcasm and it occurs when one says the opposite of what he/she
means. Sarcasm is meant to hurt the feeling of a person.

Situational irony:This is a case whereby a situation occurs which is different from what we expect. For
example, it is ironical that Azdak goes to the city to be tried and ends up being the judge.

Comic irony:This happens when an ironic situation leads to a funny ending. For example, it is comic
irony when Jussup, who is supposed to be dying, suddenly wakes up when he learns that the war is over.

Tragic irony:This is when the results of an ironic situation are tragic or lead to death. For example, it is
tragic irony when Natella, who is the real mother of Michael, loses her child in court.

Dramatic irony:This is when the audience or readers of a play have more information regarding the
events in the text than some of the characters. For instance, it is dramatic irony that we, the audience,
already know that Grusha is married, something which Simon does not know when he returns to look for
her.

The playwright has used this style in several areas in ‘The Caucasian Chalk Circle.’ The irony of
situation is that George Abashwili, the Governor plans to remodel and enlarge his palace. “.....in the
afternoon his Excellency will confer with prominent architects.” (pg 19) He even proposes to pull down
the peasant shacks on the estate. Natella says, “All those wretched slums are to be torn down to make
room for a garden.’ (pg 15). This is ironical in that this will be a garden for the privileged at the expense
of the poor majority. Irony is further seen when this same estate is confiscated for the state at the court
when Azdak declares it would be given to the people and made into a play ground for children. He says,
“....your estates fall to the city...Azdak’s gardens.” (pg 98)

Also the Governor’s plans do not pull through because he is executed that afternoon. The Playwright
uses the noble child Michael, to bring out irony. Being the only son to the Governor, he has two doctors

38
for his medical care. It is ironical when the coup takes place, the doctors NikoMikadze and NikaLoladze
abandon the child. Mika says, “......Do you really think ......little brat’s account?” (pg 21). The situational
irony is that the child has two doctors while the common people are suffering. The Governor’s wife,
who thinks that the Governor pays more attention to Michael than to her, is more concerned with her
elegant dresses and forgets her baby. Ironically, Grusha a servant girl saves the child from being killed
by the Fat Prince. She is more willing to be a guardian to the infant than her wealthy mistress. The
biological mother of the child.

The incident when Grusha plans to abandon Michael at the doorstep of a peasant woman’s house has
been developed through use of irony. Grusha’s plans are well intentioned since she thinks the peasant
will be kind enough to give Michael milk and she assumes that are far enough from the city. This is
exemplified when she says, “now you have wet yourself again...you can’t ask that can you?’ (pg 34).
Irony is brought to the fore when her thoughts are displayed in the chorus, “because I am
single....someone who’s newly poor.” (pg 35). When she meets the ironshirts she runs back to save
Michael. Ironically, her plan with the peasant woman betrays Grusha, who hits the corporal over the
head with a log of wood just to save Michael.

When Grusha manages to cross the rotten bridge, she laughs her way to freedom and shows the
Ironshirts the child. Ironically, this freedom does not last for long as she suffers in her brother’s house
because of Michael. She is too weak to walk and her sister-in-law who is portrayed to be religious
ironically does not apply the religious principles but uses ‘religion’ as an excuse to kick Grusha out of
her home. Lavrenti only allows Grusha to live in his house over winter. Due to the same reasons he has
given to his ‘religious wife’ over Grusha’s marital status, Lavrenti forces Grusha to marry a ‘dying man’
from the other side of the mountains. This is especially because of the presence of the illegitimate child.
The irony of the situation is that the brotherly love that Grusha had expected from Lavrenti is not
forthcoming; he ends up complicating Grusha’s live when he organizes for the fake wedding.

Jussup, Grusha’s dying husband, illness is developed in an ironic manner. The peasants comment on
Jussup’s health status. They initially thought Jussup was faking illness in order to avoid being drafted in
to war. They regret having felt that way because Jussup really appears about to die. When the guests
continue to talk and eat, one of them remarks that the army can no longer draft anyone as the war is
over. Jussup suddenly sits up in bed; the most ironic possible scenario of his death is no more.

Azdak’sjudgement at the court is presented in an ironic manner. The judgment pronounced on the cases
in ironical. The doctor who operates a patient on the wrong leg is acquitted for perpetrating an
unpardonable error on his practice. The farmer who accuses the old man for receiving his stolen animal
is fined five hundred piasters and ironically the suspect is made to sit the same table with the judge
“....you granny and you....and Azdak!” (pg 82)

Natella, the Governor’s wife, is using the child Michael as a means of acquiring inheritance. Her claim
that she is the mother of Michael is not due to her motherly love. The Chalk Circle brings out an ironic
twist when Grusha does not pull Michael. Ironically, Natella the real mother rushes to pull the child but

39
Grusha says, ‘I brought him up! Shall I also tear him into bits? I can’t! (pg 98) This determined the
deserving mother as the one who is motherly.

Other instances of irony are:

 The death of GeorgiAbashwili is ironical because even though he is wealthy and has
many servants and bodyguards protecting him, they do not protect him from being
beheaded.
 It is ironical that the doctors who are supposed to take care of Michael are the first to
abandon him when the war breaks out.
 There is irony when the other servants seem to be more concerned about the death of the
Governor while his wife, Natella, seems less concerned.
 It is ironical that Grusha is not warmly received when she goes to her brother where she
hopes to hide away from the Ironshirts. Instead of protecting her, Lavrenti marries her off
to Jussup.
 It is also ironic that Natella runs off forgetting to carry her child, Michael, with her.
 There is Irony in the court when Azdak rules against the Farmers and yet their chicken
had been stolen.
 The drunk Monk who conducts the marriage ceremony between Grusha and Jussup has
been drinking in the tavern and is drunk throughout the ceremony. This is irony because
we don’t expect such behaviour from a religious man.
 Aniko presents herself as a very sensitive and religious but, ironically, she does not seem
to care that Grusha is sick. She’s only interested in knowing whether the child has a
father.
 There is tragic irony when the Fat Prince suffers the same fate as the Governor. He is
beheaded when the Grand Duke comes back to power.
 It is ironical that the Fruit Growing commune is awarded the valley when its real owners
are the Goat Herding commune.
 It is also ironic that Natella does not inherit the Governor’s estate and instead, it goes
back to the public while the Governor’s garden becomes a public playground for all
children.

Use of Imagery

Imagery refers to the use of figurative language to represent ideas, objects or actions. It can also be
defined as the use of descriptive language that appeals to our senses of sight, hearing, touch, smell and
taste. This is mainly done through metaphors and similes.

a) Metaphors
A metaphor is a figure of speech in which an expression (word or phrase) is used to directly refer to
another thing.

40
The girls Tractorist says, ‘I started the fire myself,” This means she started the onslaught/war herself
against the Nazis. (pg 97)

There is also reference to ‘a bloody time’ (pg 13). This denotes time of war characterized by violence
and death.

In the chorus (pg 32), the ironshirts pursuing Grusha are likened to ‘bloodhounds’, dogs that are known
for their powerful sense of smell.

On page 65, Azdaklikens the old man (grand duke) to a bedbug to suggest he is a ‘pest’

Azdak thinks it is Ludovika who assaults the stable man with a ‘dangerous weapon’ which means she is
provocative.

The Fat prince refers to his nephew ‘my little fox’ (pg 71) to hint at his traits (cunning/sly) and to show
how confident he is that he will be made the judge.

b) Similes
This is a figure of speech that indirectly compares two things that are related using connective words
such as –“like”, “as” or “resembles”

The Governor GeorgiAbashwili is described thus: ‘He was rich as Croesus,” (pg 7) this compares him to
the king of Lydia who was defeated by Persians and was known for his immense wealth, his name is
synonymous with wealth.

The singer castigates the insensitive leaders thus: “O blindness of the great! They go their way like
gods.....’ (pg 20)

After the coup, the servants say among themselves, ‘we’ll be slaughtered like chickens, as always’ (pg
21) . This suggests they are not safe.

Simon asks Grusha, ‘Is the lady as healthy as a fish in water? (pg 22). Grusha is compared to a thief,
probably for the reader to pass judgement on whether she is justifies to take Michael, we are told: ‘As if
she was a thief she crept away!” (pg 29)

When Grusha is sheltered at her brother’s house, she tells Michael that they should make themselves ‘as
small as cockroaches’ (pg 47) to escape the wrath of her sister-in-law. Indeed, Lavrenti remarks, “why
are you sitting there muffled up like coackroaches....” (pg 48)

To suggest that she cannot run away from Michael, Grusha tells him, “I came by you as the pear trees
comes by sparrows’ (pg 49)

Azdak says law is a sensitive organ, ‘.....like the spleen, in delivering justice, we are told by the singer
he, “Broke law like bread he gave them.’ (pg 82)

Use of Songs

41
Many songs have been sung by Arkadi and other characters in the play. Some are at the beginning of the
scene, others within the scene and at the end of the scene.The story of the Caucasian Chalk Circle is
largely narrated through the use of songs. The singer, Arkadi, and other characters in the play use songs
throughout the text in the following cases:

The governor is introduced through a song. Before we meet him, we are told about what king of a
person he is as follows:-

‘He was rich as Croesus

He had a beautiful wife

He had a healthy baby’ (pg 13)

We learn that he has many beggars and petitioners whom he ignores. This song juxtaposes the rich
governor with the majority poor beggars and petitioners who wait for hand outs in form of coins which
are distributed by a servant.

Simon Shashava, the soldier, and Grusha, a kitchen maid are also introduced to us before we meet them.
We learn of their relationship. The song on (pg 18) is summative. It summarizes the action. The
Governor’s palace foreshadows restlessness. The palace is said to be a fortress but is surrounded by
soldiers. We anticipate the death of the Governor. “.....Noon was the hour to die.” These words are
followed by the appearance of the Fat Prince.

The stage is set for the execution of the Governor by the Fat Prince. The tension surrounding the
Governor’s execution is found in the song on (pg 20), in the song, stage directions are given e.g.
“....look about you once more blind man!’

Grusha’s action of taking the abandoned Michael is brought out through a song. She is drawn to Michael
and decides to save him though this is risky. In the song, she does what the singer says. Grusha’s flight
into the mountains with Michael is captures in a song. She sang a song and bought milk on the way, The
song foreshadowsGrusha’s action of bargaining for milk with the old man.

The risky flight with iron shirts following Grusha is underscored (pg 32). They hunt for the fleeing due,
never tire and sleep a little. Iron shirts feelings are captured in their song. They go into war leaving
behind their lovers (pg 33). The song on pg 35 reveals Grusha mixed feelings of happiness and sadness
after she abandons Michael at the peasant’s doorstep.

Azdak sings the song of injustice in Persia which was sang to him by his grandfather. It shows instances
of injustice and the effects of the war: ‘why don’t our sons breed anymore?....Our men are carried to the
ends of the earth, so that the great ones can eat at home.....The battle was lost, the helmets were paid
for.” (pg 68)

42
The song of the chaos in Egypt pg 83 finally brings out the emancipation of the masses from the
oppression and misrule of the ruling class. For instance it says, “...who had no bread at all have full
granaries...” pg 84.

Summary of the Songs used.

 The Governor is introduced through a song. (p.13) The song helps in describing how
wealthy GeorgiAbashwili is and his character. The song also juxtaposes Georgi’s
richness with the poverty of his people.
 A song is also used to introduce Simon and Grusha. The song tells us about their
relationship.
 The impending attack on the Governor’s palace is foreshadowed by a song. (p.18). This
song creates suspense because we don’t know what will happen next.
 The song on p. 20 describes the Governor’s execution. This contributes in plot
development.
 A song is used at the end of the first chapter to describe how Grusha decides to take the
child, Michael and head for the North.
 The song on p.33 reveals the soldiers’ feelings about leaving their loved ones behind and
going to war.
 When Grusha abandons Michael at the home of a peasant she is left with both joy and
sadness. These feelings are captured in the song on p. 35
 The song on p.36 encourages Grusha to keep running since the soldiers are closing in on
her.
 The song of the rotten bridge depicts the kind of risk that she is willing to take to flee
from the Ironshirts and save Michael’s life.
 The first song in part 3 of the text is a song of hope. Grusha hopes that Michael and she
will be welcomed warmly by her brother Lavrenti. This song creates irony because she
does not get the reception she is anticipating.
 When Jussup wakes up, Grusha is confused because she now has a husband. The songs
on p. 56 and 57 reveal her confused state of mind.
 The song on p.63 presents a flashback to the day the Governor was executed and how
Azdak had found the Grand Duke in the wood and had hidden him in his hut.
 The singer sings about how Azdak had found and sheltered the Grand Duke but later
denounces himself by ordering the policeman – Shauwa – to arrest him. This song helps
us understand the character of Azdak as a believer in justice – even if it means him being
arrested.

43
 Songs play a key role in character development, plot development and theme development.
Without the use of songs, the text would not be complete.

Proverbs and Wise Sayings

Many proverbs have been used in the play. The use of proverbs in one’s conversation is interpreted as a
sign of wisdom. It also shows masterly of one’s own language since proverbs and wise sayings require
comprehension of metaphors, similes and symbols in one’s community.

When Grusha points out to Simon that it must be dangerous for him to accompany NatellaAbashwili as
her guard on her flight, he replies with a wise saying-‘in Tiflis, they say: Isn’t the stabbing dangerous
for the knife?” (pg 21) means as the knife stabs what it is supposed to, it is also in danger of breaking or
bending but it still stabs anyway. Likewise, a soldier protects others despite the danger he exposes
himself to.

When they meet in the courtyard and Grusha is rushing to collect her personal effects, She accepts
Simon’s proposal long before he even proposes. Simon feels embarrassed and responds, “haste, they say
is the wind that blows down the scaffold (a temporary building) built for workers round a building that
is being constructed, If they are blown away then the builders will not be able to build the permanent
structure as they will have no where to stay just like Grusha and Simon will not have a marriage if she is
not patient enough to listen to the information that will cement that relationship.

When Michael and other boys are playing the game of cutting off the Governor’s head, the other
children want Michael to play the Governor’s role of just bending and his head is cut off but Michael
adamantly refuses and says he wants to be the person to cut off. The other children disagree but Michael
is adamant so when they shout to Grusha that Michael won’t play his part, Grusha laughs and says,
‘Even the little duck is a swimmer, they say.’(pg 58) Meaning even though Michael is young, you
cannot command him since he is the son of a Governor and so others do what he demands and not vice
versa.

When Azdak discovers that the fleeing duke is not a peasant but a land owner he orders him out but the
Duke makes him a proposition. Azdak finds this to be the height of insolence and responds, ‘The bitten
man scratches his fingers bloody, and the leech that’s biting him makes him a proposition!’ (pg 64).
This implies that the landowners have been exploiting the peasants and the low class and when a chance
comes up for the exploited to free themselves; the exploiters make a proposition so that they can go on
exploiting the masses and maintain their status quo.

44
When waiting for trial, the cook asks Grusha why she is holding on to the child at any price yet the child
is not hers. She explains how she first just expected to give the child away but later thought that Natella,
the mother, wouldn’t come back and the cook responds, ‘And even borrowed coat keeps a man warm
hm?’ (pg 87). This implies that, even if Grusha knows the child was not hers, the feeling that the child
belonged to her is fulfilling.

After Azdak is reinstated as a judge and openly demands for a bribe, the prosecutors who have been
worried smile with relief. The cook is worried but Simon comments ‘A well can’t be filled with dew, they
say’ (pg 90). In his argument to prove that NatellaAbashwili deserves to be given the child instead of
Grusha who claims to have brought him up, he quotes ,’Blood, as a popular saying goes is thicker than
water.’ (pg 60)

There is a heated exchange of proverbs between Azdak and Simon when Grusha thinks Azdak enacts to
give Natella the child simply because she is too poor to pay legal fees. Azdak argues that the poor are
able to give the butcher his dues but not the judge, Simon quotes- “When the horse was shod, the
horsefly held out its leg.’ (pg 94). This means Azdak who is poor as they are or in the same class, is
now counting himself among the ruling class.

Azdak replies, Better a treasure in manure that a stone in a mountain stream’ (pg 94). Although a
mountain stream has very clean water an ordinary stone in it is worthless but a treasure in a manure can
be retrieved and utilized. When one is poor, no matter how morally upright one is, one is worse off than
a rich, corrupt person. Simon replies by saying, ‘Let’s go fishing said the angler to the worm, (pg 94)
meaning that just like the angler would benefit, Azdak would just be used by the rulers to oppress the
poor and Azdak might as well end up being devoured just like the worm.

By Azdak replying that, ‘I’m my own master, said the servant; and cut off his foot, means one does not
have to do outrageous activities to prove that one is independent minded. Simon replies by showing that,
people are able to see through their tormentors’ hypocrisy when the latter professes to love the farmer
and therefore still give them their due. This is proved when he says, ‘I love you as a father said the Czar
to the peasants, and had the Czarevitch’s head chopped off.

Azdak knows that despite the appearance, he is still on the poor people’s side yet Simon does not realize
this, so that is why he concludes the discussion by saying, ‘A fool’s worst enemy is himself.’ (pg 94)

Allusion

Allusion refers to making references ,situations ,places or things that a reader knows or is aware of.

The playwright alludes to the king of Lydia (560 BC-547BC) who was defeated by Persians and was
known for his immense wealth on pg 7. We are told that the Governor GeorgiAbashwili‘was rich as
Croesus.’

The girls tractorist also quotes the poet (Vladimir) Mayakovsy, pg 10, a Georgian born in 1883. He
wrote the poems, ‘The Cloud’ and ‘I’ which are among the most popular during his time. Singer alludes

45
to Jesus when he remarks, “And now you don’t need an architect, a carpenter will do, “ (pg 20). The
Governor needs Jesus to save him from his predicament.

The play infers from both a Chinese play (Circle of chalk written in 1300 AD) and a biblical story (The
judgement of Solomon- 1 Kings 3: 16-28)

In the Chinese story, a young girl, Hai-tang, bears a child as the second wife of a wealthy man. His first
wife claims the child is her own. However, the second wife is judged the true mother when she refuses
to pull the child apart in the test of the Chalk Circle.

In the biblical story, two women live in the same house and both bear a child. One baby dies in the night
and its mother swaps him for the living baby. Both claim the living child is their own. Solomon orders
that the child be cut in two and each half be given to each mother. The real mother of the child gives up
the child rather than see him harmed and is judged to be the true mother.

Sarcasm

This is the use of humorous language to ridicule or to convey scorn, especially saying one thing but
implying the opposite.

The Fat Prince is sarcastic when he says, ‘And little Michael is a governor from head to foot! Tititi!” (pg
15). Simon is sarcastic when he tells Grusha: ‘Why shouldn’t I wash the linen by the willows!’ That’s
good, really good!’ (pg 17). On pg 18, the singer says, ‘And the goose was plucked and roasted/But the
goose was not eaten this time.’ This refers to the killing of the Governor and draws an analogy to the
goose Grusha kills for the Governor’s family.

When the singer says,’And now you don’t need an architect, a carpenter will do,’ (pg 20), the playwright
is sarcastic towards religion as this alludes to the fact that the Governor needs Jesus, who was a
carpenter to intervene on this Easter Sunday.

The ‘dying’ man refers to Grusha as, ‘A nice thing you’ve saddled me with! A simpleton for a wife! (pg
57)

When Grusha is fined ten piasters for using ‘indecent language’ in court, she sarcastically lambasts
Azdakand his corrupt ways by saying,’A fine kind of Justice! You play fat and loose with us because we
don’t talk as refined as that crowd with their lawyers’ (pg 94)

Symbolism

Symbolism refers to the use of symbols to represent ideas. The silver chain Simon gives Grusha is
symbolic (pg 28). It is a symbol of the bond between the two. When Grusha hears that the war is over
and the soldiers are back, she kneels down in prayer and kisses the chain. Later, Simon suspects that
Grusha is married to another man and he asks for the chain.

46
On pg 81, Azdak, refers to the old woman as granny Grusinia. She is a symbol of a nation that has
fallen prey of the greedy citizens (the three farmers) who deprives it all that it owns (her sons). She
symbolises a nation that seeks justice.

The Chalk Circle drawn to help Azdak, the judge, comes up with as a rational decision on who should
have the child is a symbol of truth. Ironically, his methods of justice are not by the Book of Statutes he
sits on. Therefore, he lets justice reveal itself. Similarly, the play opens with another circle of justice,
when members of the two communes sit together to decide who should have the valley. The Delegate,
like Azdak, announces the outcome without pushing. Within this friendly circle where the communes
have equal social status, they can impartially decide the best use of the valley, and it is peacefully and
mutually decided for the fruit growers.

The playwright has also used the Christian symbolism. The Christian church has been used as a tool to
support the upper class and keep the lower classes in their places. The historical church contradicts the
original teaching of Christ who treated all humans with respect.

The garden that Governor Abashwili want to establish for his son by knocking down slums for the
poor symbolises oppression and insensitivity of the rich towards the poor. Ironically, Azdak later rules
that the Governor’s estate should revert to the poor.

Foreshadowing

Foreshadowing is a situation where a writer gives a sign of something that will come later on a work of
art, that which is important and helps in plot development.

When the Fat Prince greets his brother Governor GeorgiAbashwili, this is quite unusual until the
Governor remarks, ‘.....But did you hear Brother Kazbeki wish me a happy Easter? Which is all very
well, but I don’t believe it did rain last night.’ (pg 16). The relationship between the brothers’ is thus
foreshadowed by the Governor’s comment, in which he expresses surprise at being greeted by his
brother. The brother later executes him.

Natella, the governor’s wife, seems to have an unstable mind and poses, ‘I hardly know if my head’s
still on. Where’s Michael? .......... (pg 24). Later she forgets to carry his as she flees.

Another important moment is when Natella, the governor’s wife, tells, her adjutant how jealous of
Michael she really is, She is desperate for attention from her husband. ‘But Georgi, of course, will only
build for his little Michael, Never for me! Michael is all! All for Michael!’ This jealousy of her child is
important since she abandons him later in the act.

Shortly before Azdak makes the ruling on who should take Michael between Natella and Grusha, the
boy smiles at the latter. This foreshadows the ruling made by the judge as Grusha is finally given child.

47
Azdak tells the old man (Grand Duke) to ‘encircle the cheese on the plate like it might be snatched from
him (pg 65) This foreshadows the chalk circle that is drawn to choose a mother for the child, Michael.
(pg 97)

CHARACTER AND CHARACTERIZATION

Characterization is the description of a person’s personality or behaviour. This does not include
their physical appearance or social status. Therefore adjectives like tall, brown, rich, beautiful
cannot be used to describe a person’s personality. Adjectives that describe a person’s character
are called character traits or personality traits. Examples of character traits are: arrogant, proud,
sympathetic, generous, honest, cowardly, timid etc.

When dealing with characterization, we can tell a the character traits of a character through;

1. What the character does i.e. through his / her actions.

2. What he / she says i.e. through their choice of words and language.
3. What other people say about the character.
4. What the author says about that character.
5. What the character thinks; their inner thoughts and feelings about others or life in
general.

Characters can generally be described as Major or Minor. Major characters are those that appear
often in the text while minor ones are those that appear in a few places in the text.

The main character in a novel or play is called the protagonist. In most cases, the protagonist
will have another character(s) that is against him/her. This character(s) is called the
Antagonist(s). In The Caucasian Chalk Circle, the Grusha is the protagonist while she has
Natella, the Fat Prince and the Ironshirts as her main antagonists.

A character can also be described as round or flat. A round character is one who is fully
developed and has many character traits some even contradicting each other e.g. He may be kind

48
 and cruel at the same time. A flat character on the other hand is one who is not fully developed
and possesses only few traits and hence behaves in only one way and not the other.

A character may also be described as static or dynamic. A static character is one who does not
change their behaviour in any way from the start of the story to the end. A dynamic character
however changes their behaviour as the story progresses. A dynamic character is therefore more
developed than a static one.

The author creates his characters with a purpose in the novel or play. Every character therefore
plays a part in the development of the plot, themes and the structure of the story. This part is
called the role of the character. Therefore, without the characters playing their roles, the story
would not be complete.

Grusha Vashnadze

She is a kitchen maid in the governor’s palace. She is a fiancé to Simon Shashava and a sister to
LavrentiVashnadze.

She is the heroine in the play. She rescues Michael who is abandoned by her fleeing mother, Natella
after the coup. To survive she makes several sacrifices and choices she stays with him for two years. She
is described as;

a) Loving/Caring/Concerned/humane
She is concerned about Simon’s fate when he is delegated to be Natella’sAbashwili’s guard after the
coup. She says, “Isn’t it dangerous to go with her. You are a man Simon Shashava what has that woman
got to do with you’ (pg 22)

She is concerned about the plight of the Governor she asks “What have they done with the governor”
(pg 26) When Michael is left behind by his mother Natella. She picks him up to spare him from being
killed by the soldiers who are looking for him. She does this despite the fact that other servants at the
palace dissuade her to do so ( pg 27). She has lain down all her life for the welfare of Michael.

Her love is evident when she sacrifices her money, safety and comfort for the sake of Michael. She also
refuses to pull Michael out of the chalk circle for fear of tearing him up, “I brought him up. Shall I also
tear him to bits? I can’t.” (p.98)

49
b) Courageous/Bold/Daring/Brave
Her courage has been motivated by her will to defend Michael. She is not afraid even at the law courts.
When told by judge Azdak that she would be fined ten piasters for contempt of court she responds,
“Even if it was thirty, I’d tell you what I think of your justice, you drunken onion” (pg 95)

She hits the corporal until he collapses and gets a chance to flee with the child. In a daring move, she
crossses the broken bridge despite the impending danger and risks. In the court room, she confronts the
Governor’s wife and says, “You want to hand the child over to her, she wouldn’t even know how to
keep it dry. She is so refined. (pg 94) Grusha knows how to fight for her rights.

c) Motherly
She is more motherly to Michael than his biological mother. When people run to save their lives and
forget the baby she sits with the child all through the night until dawn. Then she takes him away. She
suckled Michael just like a mother, and realizing that he is not suckling anymore, she goes to the peasant
and tells him, “The baby must be fed”(pg 32)

At the trial scene, Grusha cannot bring herself to pull Michael from the chalk circle. When asked why
she is not participating she says, “I brought him up! Shall I also tear him up to bits? I can’t (pg 98) this
test makes judge Azdak choose the mother who is motherly. Grusha adopts Michael bringing out her
deeper feelings as a mother would do. She says “Since no one else will take you son....we’ll see it
through together.” (pg 39) She does several selfless actions for the sake of Michael. First, she gives up
her money for the child, paying two piasters for milk then goes back to save Michael after leaving him
with the peasant woman. She even gets married breaking her promise to Simon.

D) Defensive/ Assertive

When the governor’s wife remarks that Michael is in ‘rags’ and “He must have been in a pigsty” (pg 97)
Grusha retorts, “I’m not a pig but there are some who are!’’ In the court room when Azdak initially fines
her ten piasters for contempt of court, she refers to him as a “drunken onion” (pg 55)

E) Determined/Resolute

A determined person is one who will do everything and anything to achieve his/her goal. Grusha is so
determined to keep Michael safe that she even allows herself to get married to Jussup for the sake of the
child. Her determination also helps her face Natella in court and eventually wins the case.

She is determined to keep Michael that when the corporal goes to take a look at Michael, she seizes a
log and hits him in the head with it, knocking him down. Her determination is also exemplified when
she succeeds in getting across the broken bridge thus risking her life and Michaels. At the court when

50
she is asked by judge Azdak if she would want Michael to go back to her mother so that he can be rich
and powerful she says, “I won’t give him up. I have raised him and he knows me.” (pg 17)

F) Possessive

When asked by a cook why she must hold on to the baby at any price when the baby isn’t hers she says,
“He’s mine. I brought him up (pg 87)

G) Appreciative

When Simon offers to help her by swearing that the child is his, she says to Simon, “Thank You” (pg
87)’

H) Obedient

She has to miss the Easter Sunday Service to attend to the master. “I was dressed to go but they needed
another goose for the banquet.

Possessive

A possessive person is one who will not give away his/her property easily. Grusha is possessive of
Michael and refuses to give him up even to his real mother. She says, “He is mine. I brought him up.”
(p.87)

Role:

Grusha plays the role of the protagonist/heroine in the text. She plays the following roles:

 Plot development – she takes Michael and runs away with him which forces the iron
shirts to go after her. She marries Jussup and the final case in court is between her and
Natella.
 Character development – through her, we understand other characters like Lavrenti,
Aniko, Mother-in-Law and Jussup
 Theme development – through Grusha, themes such as Love, justice, conflict, violence,
hypocrisy and selflessness are developed.
 Style development – through her, styles like irony, satire, juxtaposition and songs are
developed.

 Identify and illustrate the character traits of Simon Shashava.

 Identify the role played by Simon Shashava

AZDAK

51
Initially he is a village recorder/clerk but after he is accidentally chosen to be the judge by the iron
shirts. He represents the voice of reason and social justice as he takes from the rich and gives to the
poor. He is in charge of determining who the mother will be in the chalk circle.

During his initial appearance in stage he is in rags an indication that, he lives in abject poverty. Since he
is the village recorder economic hardships triggered by an oppressive and unstable government must
have contributed to his degradation.

He is a dynamic character who despite his many faults one cannot fail to admire him. Azdak can be
described as:-

i) Intelligent/wise/skilful/ knowledgeable
He has firsthand knowledge about political affairs in Persia. He narrates to the iron shirts about the
political turbulence in the country, when consulted by the iron shirts about installation of a new judge;
he portrays himself as intelligently reasonable and sensible. He proposes that the judge to be appointed
should be vetted. “tested to the marrow’ (pg 71)

He skilfully sings the song of injustice in Persia in which he is used as a vehicle to highlight evils such
as inhumanity, injustice, corruption, economic devastation and poverty.

In the play within a play, he intelligently imitates the Grand Duke’s accent. His defense is quite
impressive. He displays knowledge about how the princes were corrupt and did lose war because they
corruptly made money out of it. “…war lost but not for the princes. Princes won their war. Got
3,863,000 piasters for horses not delivered, 8,240, 000 piasters for food supplies not produced” (pg 74)
The skilful and intelligent way in which he puts up his defense makes him be installed as the judge.

As a judge he disguises his intentions well. He asks for payment from the prosecutors and Grusha. As
the prosecutors are able to pay him well, they smile with relief thinking that he would be on their side,
He seems to be hard on Grusha especially when he says he wants to be told the truth and especially
when he tells her, we’ll make it short and not listen to any more lies (to Grusha) especially not yours (pg
93) We are surprised when he later rules the case in her favour.

He engages in a dialogue using proverbs with Simon to further his argument. When Simon implies that,
since he has been given work by the ruling class he thinks he is of the same class, he answers “Better a
treasure in manure than a stone in a mountain stream (pg 94). He means although the nobility are
corrupt, they are providing him with a means of livelihood, rather than when he would be starving with
the morally upright people.

The idea of the chalk circle is a sign of intelligence on Azdak’s part as it finally proves that motherhood
is not just the biological process but also the emotional attachment one has towards the child.Through
this, he is able to identify the woman who cares more for Michael.

52
ii) Hospitable/Accommodative/welcoming
He accommodates an old man in his hut, who turns out to be the Grand Duke. Although he is in rags his
generosity is seen when he offers a stranger cheese and a place to sleep.

iii) Considerate/Judicious/Sensible
He listens to both sides giving them chances to explain their side of the story. After the first lawyer has
presented his case, Azdak asks Grusha: “What is your answer to all this and anything else the lawyer
might have to say” (pg 91) When she just answers that the child is hers, he asks, “Is that all? I hope you
can prove it. Why should I assign the child to you in any case?” (pg 91)

He is sensible when he refuses to divorce a couple who have been married for the last forty years but
wants to get divorce simply because they don’t like each other.

Justice is done when the circle is drawn and the mothers are asked to pull the child out of it.

iv) Cautious/suspicious/ discerning

He is wary of the way the old beggar behaves and he discerns that the beggar may actually be disguised”
do not lick your chops like a Grand Duke.......watching you gives me the most awful ideas.....flogger.”
(pg 64)

When the old man offers to give some hundred thousand piasters, he cannot trust him when he says he
does not have the money with him. He handles his guest and the people he interacts with a lot of caution.
He does trust the old man, “....In short I don’t trust you.” (pg 66)

v) Remorseful/contrite
He suffers from guilt conscience and reproachfully denounces himself when he realizes that he had
harboured and let the Grand Duke escape. “In the name of justice, I ask to be severely judged in public
trial. I’m contemptible, I am a traitor! A branded criminal.” (pg 66)

His conscience also pricks him for having treated people injudiciously. “I’ll have to pay for it. I let
the.....and ....outs get away with murder. I’ll have to pay for it....” (pg 84)

vi) Humorous
He makes a joke in court when it is explained that Grusha is engaged to Simon yet is married to a
peasant in the mountain village. He asks whether she did so because Simon was not good in bed. His
antics as he discharges justice are quite humorous too, for instance sitting on the statute book, hearing
cases while in the tavern, the Ludovica and stableman’s trial etc.

vii) Abusive/disrespectful/insolent
He insults the old beggar when he discovers that he is not a beggar ‘......walking swindler! Peasant
flogger and a leech.” He tells the old beggar “I couldn’t hand over a bedbug to that animal” (pg 65)
referring to Shauwa. He insults the iron shirts who have been beating him. He addresses then as dogs
living in the dog world. (pg 89)

53
Viii) Corrupt/unscrupulous/undisciplined

He is overly corrupt. Before he presides over any case he solicits for a bribe when he says, “I accept” on
pg 77 the singer tells us that he is crooked.

The way he handles the court cases leaves a lot to be desired. He sits in the judge’s chair peeling an
apple.

He seems overwhelmed by the number of cases he has to handle and so he decides to handle two cases
simultaneously.

He sometimes presides over serious cases out of the court where the judge’s chair has to be carried.

He enters from the caravansary.......carried (pg 77)

He presides over another case in the tavern while drinking wine.

Instead of referring to the statute book, he sits on it

He sits on the floor and does some personal grooming in the courtroom. “Azdak sits on the floor
shaving......” (pg 83)

There isn’t a standard way of charging clients and it seems all are charged differently. Grusha is first
fined ten, then twenty, then thirty and finally forty.

viii) Immoral/Lewd
On page 93 while addressing Grusha he says, “Is he no good in bed? Tell the truth” this is in reference to
Simon.

In the court, he admonishes Grusha for not, “making eye.....and wiggling her backside a little to keep
him.....in good temper.” (pg 95)

ix) Authoritative

He authoritatively orders the ‘old beggar’ to stop snorting and to stand still and once he discovers that he
is a fraud, he orders him to eat cheese like a poor man. He also shows authoritativeness when he hands
out his sentences in court. He admonishes Shauwa and orders him to go home and repent.

x) Persevering / enduring

After the war is over, he is caught by the iron shirts and Farmers who beat him up and tear up his clothes
off his back. He is pushed back and forth until he faints. He, nonetheless, perseveres all these and still
wipes himself to take the judge’s sit. (p.89)

xi) Selfless / self sacrificing

54
He sacrifices himself to be tried as a traitor for harboring a fugitive in his house. He considers himself a
traitor for letting the Grand Duke escape and orders Shauwa to take him to the capital to be tried.

Azdak’s Role:

Azdak represents the voice of reason and social justice by taking from the rich and giving to the poor.
His role can be described as:

 Plot development – Azdak contributes to the plot by sheltering the Grand Duke and performing
as a judge. He is the one who finally determines who will take Michael and he manages to
divorce Grusha from Jussup.
 Character development – through Azdak, other characters are developed, for example, Shauwa,
the Grand Duke, Ironshirts, the Lawyers, Grusha and Natella.
 Theme development – themes such as Justice, self sacrifice, betrayal , social class inequality and
political turbulence are developed through him.
 Style development – he contributes to the development of styles such as: play within a play,
irony, satire, humour and songs.

GeorgiAbashwili

He is the governor of the Grusinian people, Natella’s husband and Michael’s father. He is beheaded on
Easter Sunday after his brother the Fat Prince successfully stages a coup.

He is described as;

I) Irresponsible/inhuman/insensitive
He lacks commitment to the people he is serving. He uses his position to mistreat the poor and the less
fortunate in the city of Nuka. The deplorable nature of the beggars and petitioners shows that they have
been neglected and are living in abject poverty.

He is not interested in the state of war. He ignores a messenger (rider) from the capital who comes with
confidential papers. He will not attend to this matter until after the service. This annoys the rider who,
“.....turns sharply round and, muttering a curse goes off (pg 66)

II) Hypocritical/selfish/self-centered/ egocentric

He appears to be more interested in the Easter Sunday service than the people he serves. Christian values
dictates that the weak and poor should be considered yet he ignores the many beggars and petitioners
who flock the gateway.

55
He is more concerned about his personal interests. He intends to bring down the slums to pave way for
his garden. He engages two doctors to take care of his son yet the beggar’s children are thin, with
scarcely anything to eat.

He has accumulated so much wealth around him that the singer compares his richness to Croesus (a king
of Lydia who was known for his riches)

His contempt for the poor masses is telling, when he ignores them as he enters the church.

III) Loving
He refers to his son as the apple of his eye. Two doctors are responsible for him. He is ready to build a
whole wing which makes his wife Natella jealous of their son.

NatellaAbashwili

She is the wife to Governor Abashwili and biological mother to Michael. When the coup takes place,
she leaves behind her child and later, she tries to reclaim him back from Grusha, the lady who salvaged
him.

She is portrayed as;

I) Materialistic/greedy
She is so much concerned with earthly things and wealth that she even forgets her child when she is
fleeing. She cannot imagine leaving behind her personal possessions such as dresses. This is done
oblivious of the danger she is exposing herself and the servants to. “I’ve got to take this silver dress-it
cost a thousand piasters...the wine coloured one?” (pg 25) She desperately rummages into the trunks
looking for her most valuable essentials. She cannot even dream of escaping on a horse back despite
prevailing danger. “Such nonsense! I wouldn’t dream of going on horseback!” (pg 25)

II) Contemptuous/ Vain/proud/self-centered

Her behaviour is characterized by false pride and an exaggerated sense of self-importance. She does not
have time for beggars and her servants.

She only identifies herself with people of class. She insults a young woman who already assured her that
no harm has come to her dress. “Nothing in your head, but making eyes at Shalva....I’ll kill you, you
bitch.” She beats up the young woman. (pg 24)

She is offensive by nature. She lacks respect for human beings. She refers to Azdak as a creature. “What
sort of a creature is that Shalva” (pg 85) she comments that Michael must have been in pigsty because
he is dressed in rags.

56
When she enters the courtroom, she sighs with relief that there is no common man around. She says she
cannot stand their smell as it always gives her migraine. She looks at Grusha and asks contemptuously,
“Is that the creature” (pg 88)

III) Careless/irresponsible
She orders the woman holding Michael, Natella’s own son to put him down so that she can get her little
saffron coloured boots from the bedroom. She is not interested in the child. No wonder the child is left
behind as she flees.

IV) Pretentious/Hypocritical
The first lawyer cautions her against speaking disrespectfully about people until they have another
judge, she retorts, “But I didn’t say anything.....I love the people with their simple straight forward
minds. It’s only that their smell brings me migraine” (pg 92)

At the courtroom, she pretends that she is very affected by the loss of her child. She describes her loss
as, “A most cruel fate, sir, forces me to describe to you the fortunes of a bereaved mother’s soul, the
anxiety, the sleepless nights the.......”(pg 92)

V) Wicked/callous/ cruel/inhuman
When Azdak is lifted up and dragged under the noose. The governor’s wife claps her hands hysterically
and comments, “I disliked that man from the moment I first saw him.” (pg 89). She derives pleasure in
seeing other people suffer.

Role:Natella contributes to the overall text through:

 Plot development – she is the mother of Michael and it is her action of leaving behind the
child that makes it end up with Grusha. It is because of her that Grusha has to fight in
court for the right to be Michael’s mother.
 Character development – she helps in developing the characters of GerogiAbashwili,
Grusha, the two doctors, the two lawyers, the adjutant and even Azdak.
 Theme development – she contributes to themes such as: parental love, justice,
materialism, hypocrisy and social class inequality.
 Style development – through her, literary styles such as irony since she ironically does
not get the child and yet she’s its real mother and satire because her materialistic nature is
exaggerated and ridiculed.

Shauwa

He is a policeman and a guard that accompanies Azdak to Nuka on request to a court trial. He doubles
up as a prosecutor and a sweeper in court during Azdak’s term as judge.

He can be described as;

57
I) Compromising/tolerant/patient
He does not arrest Azdak for his criminal activity of stealing rabbits. Instead he tries to reason with him,
“....When prince’s rabbits are stolen......I’m a policeman ....should I do with the offending party (pg 65).
Although Azdak remains stubborn and unwilling to change his behaviourShauwa is tolerant and patient
with this. He tells him, “You caught another rabbit....you’d promised me it wouldn’t happen again.”
Azdak claims the rabbit should be exterminated. He is oblivious of the tricky circumstance he places
Shauwa in. The latter is tolerant and persuasive instead, Azdak don’t be hard on me. I’ll lose my job if I
don’t arrest you. I know you’re a good heart” (pg 65). Shauwa is a policeman with power to arrest
Azdak but instead Azdak incriminates him and orders him to go home and repent which Shauwa does.

II) Obedient/Submissive/Accommodating
He cooperates with Azdak who request him to take him to Nuka. He is forced to walk half the night with
Azdak to clear the whole thing all by threat. All Shauwa says is, “That wasn’t nice of you Azdak“ (pg
66)

He takes orders from Azdak even in the circumstances when he has the right to rebel. Azdak shouts at
him, “shut your mouth Shauwa,” Shauwa does not respond to this angry outburst. (pg 67)

He obediently agrees to tell the iron shirts how Azdak had shouted at Shoemaker Street when ordered to
by Azdak. “They confronted him in butcher street...Shoemaker Street. That’s all” (pg 67) He is ordered
by Azdak to sing with him as he holds the rope around Azdak. He sings.

III) Agreeable/Responsible/pleasant
He appears to be a pleasant person, quite easy to get along with. During the reign of Azdak as judge, he
takes responsibility of the difficult duties as being prosecutor and at the same time sweeping and serving
Azdak like a servant.

He reports to Azdak and does what he is ordered to do. “Public prosecutor drop your knife” (pg 78)
Shauwa obeys.

Shauwa reports all the cases to Azdak without influencing him and showing any bias. He serves Azdak
wine in the tavern. “Shauwa brings him wine” (pg 79) sometimes he reports the cases while sweeping”
(busy sweeping) “Blackmail” (pg 76)

IV) Caring/Concerned
When the Grand Duke returns and Azdak is scared that he will face the consequences of his actions,
Shauwa warns him when he presumes there is danger “someone’s coming” (pg 84)

Simon Shashava

58
He is a soldier of the palace guard who remains at the door when the Governor and his family enter the
Church. He is ordered to accompany the governor’s wife, NatellaAbashwili as her guard. He is Grusha’s
betrothed

He is portrayed as:

I) Loyal/obedient
He accepts to accompany the Governor’s wife as her guard to Tiflis. He takes up the responsibility
despite the risks involved in being identified with the Governor’s family. Grusha warns him, isn’t it
dangerous to go with her” (pg 21)

When ordered by the Adjutant to move, he stands attention and goes off.

II) Inquisitive/Curious
In his encounter with Grusha, he asks ceaseless questions. “May I ask if the young lady still has
parents”-My second question is this,” - is the young lady as healthy as a fish in water.”

When he comes back from the war and finds Grusha by the river, he wants to know whether she is sill
faithful to him and whether the child is hers.

III) Faithful
For the two years he is away for war, he remains faithful to Grusha. This explains why he is eager to
know the relationship between Michael and Grusha. To show his commitment to Grusha he offers to
assist her in the case and even says that Michael is his.

IV) Humorous
His conversation with Grusha on Pg 17-18 is full of humour. “A goose (He feigns suspicion) I’d like to
see that goose. I only went for a fish.

V) Loving/concerned/responsible
When he returns from war, he goes to look for Grusha at the Northern Mountains. He asks her “How are
things here? Was the winter bearable?”

When the Governor is toppled and killed he comes to look for Grusha: “Grusha! There you are at last!
What are you going to do? (pg 21)

When he is delegated to accompany Natella by the Adjutant and Grusha complains. He answers “That
woman has nothing to do with me. I have my orders and I go” (pg 22)

He cares about the welfare of Grusha when he acquires about the parents, whether she is healthy and if
she is impatient.

He gives Grusha a silver chain to cement their relationship. He is always there for her.

59
VI) Impatient/temperamental
He does not take time to listen to Grusha’s explanation that she has been faithful to him. To him she is
married and has a son. He tells her, “Give me back the cross I gave you. Better still throw it in the
stream.” (pg 61)

VII) Wise/Prudent
He makes use of several proverbs in answer to Azdak

“A fine day, let’s go fishing said the angler to the warm”( pg 94)

“A well can’t be filled with dew, they say” (pg 90)

VIII) Appreciative
When he realizes that Azdak has granted Grusha divorce, he is so grateful that he tells the judge that
forty piasters are cheap when one considers what he has gained. “Cheap at your price, your honour. And
many thanks.”

LavrentiVashnadze

He is Grusha’s brother and husband to Aniko. When Grusha flees to the mountains, he accommodates
her and makes arrangement for her to get married to the “dying man”-Jussup.

He is portrayed as;

a) Timid/henpecked
The manner in which he quietly and quickly inquires from Grusha whether there is a father to the child
indicates that he is fearful. He is intimidated by his wife. Due to this Lavrenti anxiously says that they
must think something up.

He fears that the priest had questioned Grusha about the child and only gets relieved to hear that Grusha
did not tell him anything.

He is fearful of the people who are already gossiping about the illegitimate child.

Due to the fear of his wife and people he organizes for a fake marriage for Grusha so that people won’t
talk. “So people won’t talk “(pg 49) the singer comments, “The cowardly brother.......giver of shelter”
(pg 47)

b) Hospitable / welcoming
When Grusha flees to the mountains and finally lands at his home, he welcomes her cordially despite the
initial fears he has on how his wife will react.

c) Deceitful/dishonest/untrustworthy

60
He lies to Aniko that Grusha is on her way to her husband and Grusha says she got married to a man on
the other side of the mountain.

He plans to steal Aniko’s milk money to use it for Grusha’s wedding.

To cover up his wife’s weaknesses, he purports she is sensitive and religious.

d) Crafty/cunning/scheming
In order to get rid of Grusha, he plans for her marriage with a ‘dying man’. He does this secretly without
informing his wife.

He wants to ensure that they do not suffer shame so he makes people believe that Grusha actually had a
husband on the other side of the mountain. “People mustn’t know anything” (pg 47). He organizes the
marriage without consulting Grusha initially, only to inform her later about the arrangement.Lavrenti is
deceitful when he lies to his wife that Grusha is married and that she is on her way to the other side of
the mountain to meet her husband who is in the war.

He is dishonest when he plans for Grusha to marry a ‘dying peasant’ so that she can have a home and a
farm.

He is also untrustworthy when he takes Aniko’s milk money and uses it to pay off the Mother-in-Law
for the wedding to take place.

He hides the baby from the monk and only brings out the baby when the ceremony is over for he knows
very well that the vows cannot be reversed.

Fearful / cowardly / timid

Lavrenti is so fearful about what his wife will say when she sees Grusha with a child and no father he
warns her that she cannot stay there for long because Aniko is religious.

Because of his cowardice, he is unable to defend Grusha even when she has to be hidden in a dark dingy
workroom away from people. The singer comments, “The cowardly brother…gives her shelter.” (p.47)

Crafty / cunning / wily / scheming.

He cunningly schemes a plan to wed Grusha and in the process, save himself from Aniko’s wrath. He
arranges a secret wedding between a ‘dying man’ – Jussup and Grusha without informing Aniko or even
Grusha herself. He cleverly convinces Grusha that she will only get a husband on paper and not in her
bed. He says, “You don’t need a man in bed. You need a man on paper…and when you met him, he was
at the last gap. You’re a widow. What do you say?” (p.49)

Calculating

He does not want Grusha and Aniko to talk and he calculatingly tells Aniko to go and look after the cake
herself. He says, “Would you look after the cake yourself dear.” (p.46)

61
He tries to hide Aniko’s weaknesses and religiosity by telling Grusha that, “she has a good heart but she
is very, very sensitive.” (p.48)

He even tells Grusha that Aniko is very worried about her husband who is in the war. He says, “You
can’t imagine how worried about your soldier-husband…she says and lies awake.” (p.48)

Role:

Lavrenti plays a pivotal role in:

 Plot development – he offers shelter to Grusha and he is the reason why she chooses to
embark on her journey to the Northern Mountains. He also arranges for the marriage
between Grusha and Jussup.
 Theme development – he is instrumental in the development of themes such as: filial
love, betrayal, materialism and societal decadence.
 Character development – he contributes in developing characters like: Grusha, Aniko,
Mother-in-Law and the Monk.
 Style development – helps in developing literary styles such as: irony when he ‘helps’ his
sister by arranging for her a marriage to a ‘dying man’. Satire when he is scared of his
wife to the extent of speaking in low tones and lying to her.

Aniko

She is Lavrenti’s wife and a sister-in-law to Grusha. She is portrayed as;

a) Hypocritical/pretentious
She is portrayed as being religious but lacks religious qualities. Grusha arrives at their home worn out
and tired, all she is concerned is about Grusha’s single status. “If your husband’s not in the city, where is
he....has your husband got a farm...but when will he come back if the war’s broken out again as people
say?” (pg 46)

Lavrenti explains to Grusha that she cannot stay for long with them because Aniko is religious. “.....but
you can’t stay here long with child. She’s religious; you see (pg 46)

b) Arrogant/proud
When Grusha faints she says, “Heavens she’s ill what are we going to do....as long....as its not scarlet
fever.......if it’s consumption we’ll get it” (pg 45-46)

She keeps on shouting to the servants Sosso! Where on earth are you? Sosso! (pg 46)

c) Cold/Unwelcoming
When she is introduced to Grusha instead of welcoming her, she asks “I thought you were in service in
Nuka....wasn’t it a good job? We are told it was.

62
Lavrenti has to defend her to Grusha “She has a good heart. But wait till after supper (pg 46)

Grusha even has to tell Michael, “Michael we must be clever, if we make ourselves as small as
cockroaches. The sister-in-law will forget we’re in the house and then we can stay till the snow melts”
(pg 47)

Grusha’sMother-In-Law

She is the mother to Jussup. She makes arrangement with Lavrenti to have his sister married to her son
Jussup on his ‘deathbed’

She is portrayed as;

a) Materialistic/greedy
She is to be paid by Lavrenti 400 piasters for having Grusha marry Jussup. When she discovers that
there is a child, Lavrenti has to offer 200 piasters more and she readily agrees to have the marriage take
place “My Jussup doesn’t have to marry a girl with a child...all right make it another 200 piasters. (pg
50). She hires a cheap monk to perform the wedding in order to save. “She saved on the priest the
wretch. Hired a cheap monk (pg 50)

b) Opportunistic
Takes advantage of her son’s illness to make money by marrying him off on his deathbed. “The son of
this peasant woman is going to die.... How much does the peasant want? Four hundred piasters” (pg 49)
she also gets a chance to add more money when she discovers that the bride has a child-Lavrenti has to
add two hundred piasters more.

c) Hypocritical/dishonest
When she sees Grusha with the child, she weeps, saying that her people are honest and she does not
want to live with the shame.

She makes the monk accept that Jussup has accepted the marriage: “Of course he is! Didn’t you hear
him say yes?” (pg 51)

d) Pretentious
When she arrives with the monk, she tells the guests “I hope you won’t mind waiting a few moments?
My son’s bride has just arrived from the city. An emergency wedding is about to be celebrated (pg 51).
Grusha has not arrived from the city nor is she her sons beloved. When the monk and she enter the

63
bedroom, she tells him, “I might have known you couldn’t keep your trap shut” (pg 51). This means she
is not amused by the arrival of the guests. When the monk inquires about the child, she tells him, “Is
there a child? I don’t see a child...you understand? (pg 52)

Role

The mother-in-law is important in:

 Plot development – she agrees to have her son getting married to Grusha and is pivotal to the
success of the wedding.
 Character development – she contributes to the development of characters like: Jussup, Grusha,
Lavrenti and the Monk.
 Theme development – she helps to develop themes such as: materialism, greed and societal
decadence.
 Style development – she contributes to development of literary styles such as: irony since she
does not know that her son is pretending to be sick and yet she lives with him and also wishing
her son quick death so that she doesn’t spend a lot of her money in feeding the guests and
humour when she gets a drunk monk to conduct the wedding.

ArsenKazbeki(The Fat Prince)

He is referred to as the Fat Prince. He is a brother to the Governor. He plots and stages a coup, with the
help of ironshirts that leads to the killing of his brother-The Governor. When the Grand Duke returns
after two years he is deposed and beheaded.

He is portrayed as;

a) Hypocritical/insincere
He pretends to be so much pleased with the governor’s family that he bows and remarks sarcastically
that Michael is a governor from head to foot.”

He hypocritically terms George’s intention of bringing down slums to pave room for the garden, good
news. “Good news after so much bad” (pg 5) He has instigated war against the Grand Duke and the
Governor; He intends to overthrow the government. He then claims that the universally loved judge has
been hanged. “My friends, we need peace, peace in Grusinia! And justice! So I’ve brought along my
dear nephew BizerganKazbeki (pg 71)

He pretends to be fair in the appointment of a new judge by conducting a mock interview of his nephew
yet he intends to have him as judge.He pretends that he wants the ironshirts to confer and democratically
decide who should be judge yet at the same time informs his nephew, “Don’t worry my little fox. The
job’s yours (pg 71). More so he intends to ignore the Ironshirts once the Grand Duke is arrested. He tells
his nephew “and when we catch the Grand Duke, we won’t have to please this rabble any longer.” (pg
71)

64
He pretends to wish the Governor’s wife well on Easter Sunday, yet he has a plan to kill his husband.
“Happy Easter, NatellaAbashwili! What a day!” (p.15). he even lauds the Governor’s intentions of
bringing down the slums to extend his garden as ‘good news’. (p.15) This is hypocritical of him since he
and the other plans have plans to remove the Governor and the Grand Duke from power because of poor
governance.

He talks of peace, yet he has brought violence and killings. He says, “My friends, we need peace, peace,
peace in Grusinia!” (p.71)

b) Sadistic/callous/inhuman.

He schemes for the murder of the Governor and once he is executed, he orders the drunken soldiers to
fasten his head on the wall using nails.His callous nature does not stop him from wanting to kill a child.
He says, “It’s a pity they took the brat along though. I need him, urgently.” (p.28)

c) Crafty/scheming/ cunning
He plans and executes the Governor’s death when nobody expects it – on Easter Sunday. He also
schemes to have his nephew installed as Judge. He cleverly pretends to leave the decision to the
Ironshirts, knowing very well that they will choose his cousin over Azdak. He says that the interview is,
“a mere formality, my little fox…” (p.72). He schemes to install his nephew as judge by influencing the
Iron shirts but they stage a rehearsal with the nephew acting as judge. He tells the nephew. “It isn’t
customary....who got there first.” (pg 72)

d) Corrupt

The fat prince and the other princes lose the war because of their greed and corruption. Azdak says,
“Embezzled funds, sent sick horses. During attack, drinking in whorehouse” (p.94). He brings his
nephew to be installed as judge so that he can be able to control the court through him. He tells him,
“…we catch the Grand Duke. We won’t have to please this rabble anymore.” (p.71)

e) Greedy

His plan to overthrow the system run by the Grand Duke is motivated by greed for power. He even kills
the Governor, his brother, and act that shows the extent hunger for control and power can push one to.
Since evil begets evil, he is executed the same way he killed his brother.

The Fat Prince plays a role in:

65
  Plot Development – it is Prince Kazbeki who kills the Governor which sets off a series of
events like Natella running tot the capital and leaving the baby behind. It is he who orders
the capture of Michael that forces Grusha to run to the Northern Mountains and to get
married in the process.
 He also contributes to the appointment of Azdak as judge by giving the Ironshirts the
opportunity to select the winner.
 His capture and death also brings the Grand Duke back to power.
 Character Development – he helps in the development of characters like
GeorgiAbashwili, Natella, Grusha, Ironshirts, Azdak and his nephew, BizerganKazbeki.
 Theme Development – through the Fat Prince, themes such as violence, abuse of power,
betrayal and greed for power are developed.
 Style Development – his character also contributes in styles such as: irony since it is
ironic that in the end he also suffers the same fate as the Governor, figurative language
when he says, “when it was raining yesterday, I thought to myself, gloomy holidays! But
this morning, the sky was gay. I love a gay sky…” (p.15) and play within a play when he
allows his nephew to take part in the interview to determine if he’s fit to be judge.

ATT: MID-TERM ASSIGNEMENT( Due on Wednesday,22nd June ,2016)

Essays based on the text

1) Discuss the consequences of Fighting and war in any society with evidence from Bertolt
Brecht’s The Caucasian Chalk Circle. ( 20 Marks)

2) “What there is shall go to those who are good for it”. With illustrations from the play The
Caucasian Chalk Circle, write an essay in support of this statement ( 20 Marks)

66