Caucasian Chalk Circle: language

Prose and Verse

Varied Use of Language: Brecht’s The Caucasian Chalk Circle employs a mix of prose and verse. Prose, being more conversational and informal, captures the grittiness of the characters’ struggles and their everyday realities while the verse embodies the more refined, philosophical elements.
Contrast Between Characters: The difference in language styles also helps characterise: the upper-class characters are often associated with formal, elevated language, and the lower classes with more rudimentary, colloquial language.

Use of Different Languages: Within the play, several languages - Georgian, Russian, and German - make appearances. This offers unique auditory texture and expands its sociopolitical commentary to include cultural assimilation and linguistic friction.
Language as Power: The multilingualism isn’t just for appearances; it is utilised as an instrument of power, helping characters gain advantage over others. For instance, in the play, characters who speak Russian, the language of the conquering force, have an edge over those who only speak Georgian.

Nature Imagery: In The Caucasian Chalk Circle, nature imagery often has symbolic undertones. For instance, the motif of the chalk circle becomes a metaphor for justice and rightful ownership.
Biblical References: The storyline itself echoes the judgement of Solomon, with Michael, the child claimed by two mothers, mirroring the baby in the Biblical tale. These allusions to familiar religious narratives and parables perform a dual function - making the social commentary more accessible while adding resonance and depth to its themes.

Informative Dialogues: The dialogues between characters often serve multiple purposes —telling the story, commenting on societal issues, and offering moral perspectives. They are comprehensive and detail-oriented, almost narrative in nature.
Monologues and Speeches: Speeches and monologues, especially Grusha’s, are often used to expose character’s inner thoughts, dilemmas, and motivations. They also echo Brecht’s socio-political messaging, speaking against authoritarianism, greed and in favour of solidarity, compassion and justice.

Parataxis: Brecht uses parataxis - the juxtaposition of sentences without coordinating or subordinating conjunctions - to abruptly shift from one idea to another, sustaining the alienation effect.
Interspersed Songs: The songs in the play, delivered in a distinctly different language register, contribute to the overall V-Effect, distancing the audience and preventing emotional involvement. Their often absurd lyrics, in contrast with the serious nature of accompanying scenes, further heighten this effect.