Religion In Brecht's Drums In The Night

Yet from the earliest starting point of his abstract vocation, Brecht was a foe of the built up average society.
Brecht created unequivocally against common play Baal (1918-19), which had an unpredictable connection to expressionism ( Kellner , " Brecht Marxist Aesthetics "), and in 1919 composed Drums in the Night, a play that managed the bafflement after World War I and the German insurgency. The returning trooper in the play,
Kragler , walked out on the German insurgency after the war for going to bed with his better half.
While in Berlin in the mid-1920s, Brecht started to demonstrate an enthusiasm for Marxism. He connected with a wide hover of recognized radical companions and specialists, and got to be familiar with Marxism through examination

Religion in the play is portray ed as something of little help in a time of crisis. In the play it is depicted through the sycophant character of the lascivious chaplain who changes his allegiance at the drop of a hat. When peace is declared he dusts off his vestments and is prepared to go to work, but soon changes his mind when war breaks out again.
Baron d ' Holbach was a major influence on Karl Marx in terms of his atheistic weltanschauung whose ideas are portrayed by Brecht. D ' Holbach advocates an anti- Christian attitude because he argues that " Christian religion runs counter to the political health and well- being of nations " (Baron D ' Holbach , P.26)
Brecht is quite supportive of this claim as the chaplain comment makes clear when he argues that when war fails to continue, it might to "A Slight case of negligence, and it 's bogged down up to the axles. And then it 's a matter of hauling the war out of the mud again. But emperor and kings and popes will come to its rescue ".
(scene 6, P.52- 53).
Brecht is referring to the connivance of religion with politics to continue the war and he unmasks the