49 pages • 1-hour read
Bertolt BrechtA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
In Givola’s flower shop, Betty Dullfeet’s husband Ignatius learns that Roma has been killed. This means that Ui’s “rebellious adolescence” (70) is over, Betty tells her husband. She urges him to seal the deal with Ui. Giri enters, wearing Roma’s hat, which he claims to have taken from Givola. He leaves, causing Ignatius to bitterly ruminate on his forced alliance with these violent criminals. He feels a sense of “terrible foreboding” (71).
Ui and Givola enter, introducing themselves warmly to Ignatius. Ui dismisses the “simple misunderstandings” (71) of the recent past and proclaims his distaste for violence. He and Ignatius both want a healthy economy, he says. Becoming frank, he confesses that he and his crew were not “up to the highest moral standards” (72) but blames this on the nature of war. Now, he wants Ignatius to trust him. He wants them to be friends and, importantly, to stop printing negative stories about Ui.
Givola gives a tour of his store, moving through the arrangements in pairs. Each time a pair appears in a different combination, they talk in rhyming couplets. Betty quizzes Ui on his political views, for example, and Ui claims to be “a socialist—which [he proves] by taking money from the rich” (74). Ignatius notices Ui placing his hand on Betty’s shoulder and announces that they should leave. As they depart, Givola hands flowers to Betty. Once the couple is gone, Givola believes that the time has come to move forward with their plan. Ui voices his dislike of Ignatius.
Ui, Giri, Givola, Clark, and Betty attend Ignatius’s funeral. After placing flowers, Ui and his two lieutenants wait outside the church. The pastor can be heard inside, eulogizing a man who has been “taken from us so prematurely” (76). Giri, wearing Ignatius’s hat, warns the exiting Clark that Ui is not in a good mood. Mulberry calls the men “butchers” (77), accusing them of killing Ignatius even though he kept to his deal with Ui. Silence is not enough, Givola says. People must publicly support Ui. He criticizes Mulberry for being a hypocrite who criticizes the violent methods but makes money from selling vegetables. Mulberry and Clark both regret involving Ui in their business. They exit gloomily.
Next, Betty exits the church. Ui approaches her, offering his condolences. Betty ignores him. Ui repeats his condolences and then suggests that maybe Betty should strike a deal to sell vegetables with his help, rather than mourn her dead husband. He criticizes the rumors that he was involved in Ignatius’s murder and bemoans the way people treat him with contempt and scorn. He believes that this is unfair and warns that he can “be pushed only so far” (79).
Betty accuses him of being a violent, uncaring criminal. Ui defends his “humble beginnings” (80) that—he says—are so often held against him. Betty swears to use what she has inherited from her husband to let the world know about Ui’s true character. Ui warns that “the sole voice raised In Cicero against terror, violence and crime has fallen silent” (81). All Betty has left is his offer of protection. She rebukes his “friendship” and runs away.
Ui suffers a sleepless night in his hotel room. His armed guards stand by, guns in hand. The ghost of Ernesto Roma appears, a bullet hole in his forehead. Roma delivers a soliloquy, warning that “all of [the violence] will be in vain” (82) because of Ui’s betrayal. By striking at his most loyal lieutenant, Roma says, Ui struck at himself. He will, in turn, be betrayed. Ui wakes up in a panic. He orders his men to shoot at the spot where the ghost was standing. They fire at the wall as Roma fades from view, claiming that what is left of him is “bullet-proof” (83).
Chicago vegetable dealers assemble in the financial distract, their faces deathly pale. They argue about murder, extortion, tyranny, appeasement, cowardice, and fear. They complain that they are being bullied into buying protection from Ui’s men. They hope for someone to stand up to Ui and lament that—as mere vegetable sellers—they lack the backbone to do so. The vegetable dealers from Cicero arrive and talk to their Chicago counterparts. They too now answer to Ui, so everyone hopes that soon there will be someone to stand up to Ui.
Ui enters, followed by Giri, Givola, Betty, Clark, and his bodyguards. Givola welcomes the people of Cicero to the Cauliflower Trust. Clark announces that the Trust has now merged with Ignatius Dullfeet’s company, so there will be “increased security on all deliveries” (85), even if prices are slightly higher.
Ui gives a speech, calling on the memory of the recently deceased Dogsborough to explain his ambition. Dogsborough’s will, Ui says, described Ui as being like a son. The vegetable dealers of Cicero have joined the Trust of their own free will and now the city of Chicago must elect Ui of its own free will. Betty urges the people to put their trust in Ui. An informal showing of hands is held as Givola insists that “everyone’s free to do whatever he wants” (87). When one man leaves, the bodyguards follow. A shot rings out.
Everyone raises their hands to vote for Ui and his protection. He accepts the election with pride and repeats his origin story. He has now achieved a “beautiful reality” (87), he says, and this peace will be celebrated with an order for Tommy-guns and armored cars. Other cities are “crying out” (88) for his protection. He will not be stopped by niceties or criticism. The curtain falls.
In a short Epilogue, Ui addresses the audience directly. He warns the audience that they have glimpsed the terror of Arturo Ui. The world “was almost ruled by such a crook” (88), though people came together to overcome him. While this unity was temporarily successful, the Epilogue warns that “the ooze that spawned him is as rich as ever” (88).
The Resistible Rise of Arturo Ui is a call to action to the audience, urging them to help prevent the rise of other fascist leaders through recognizing The Dangers of Greed and Self-Interest. The role of the business interests in the play is Brecht’s way of condemning the arrogance and self-interest of historical individuals. The Cauliflower Trust is an analogy for the Prussian Junkers (subsidized German landowners), who believed that they would be able to control Hitler, just as the Trust believes that it can control Ui. As such, the play emphasizes the role of self-interested materialistic attitudes in facilitating the political rise of fascism.
Like the Prussian Junkers, the Trust hopes that they can manipulate dangerous individuals through power and money. They drastically underestimate the power of the person they are raising up because they are more afraid of workers’ collectives shifting power from the bourgeoisie to the working class. The Trust turns to Ui because they do not want workers to strike, while the Prussian Junkers turned to Hitler due to his proclamations against communism.
By the end of the play, the Trust has failed miserably. Many members of the Trust have paid with their lives, while Clark and Mulberry must live overwhelmed by their arrogant mistake. The Trust dies a hubristic death, seeing their wealth and status subsumed into Ui’s plot. The Trust have no one but themselves to blame; the play condemns the Trust and their historical analogies for the arrogant belief that violence can (and should) be wielded to preserve an unfair class structure.
The final scene of the play portrays Ui’s moment of triumph, invoking The Nature of Complicity and Resistance. This is a story of the rise of Arturo Ui, rather than his rise and fall. Unlike traditional dramatic narratives—such as the Shakespearean tragedies referenced throughout the play—Brecht deliberately does not portray the inevitable downfall of Ui. The play is instead a warning, showing the audience what might happen if fascism is indulged, so the moment of triumph is a stark demonstration of the ominous nature of Ui’s threat. The historical parallel of Adolf Hitler may eventually have been defeated (at the expense of many millions of lives), but defeat is never inevitable unless people make a conscious effort to resist. By ending with Ui’s ostensible triumph, Brecht urges the audience to act so that Ui’s fascist victory will never be permanent.
In the Epilogue the actor playing Ui turns to the audience. By breaking the fourth wall, Brecht again makes his political message more explicit. Individuals such as Ui and Hitler are not just individuals, but products of their time and societies. The same violent milieu that birthed these individuals has not gone away. Brecht’s Marxist politics become apparent, as he calls on the audience to take a look at the material circumstances that give rise to fascism. Rather than condemning individuals, Brecht warns that society itself must be improved to prevent fascist leaders from rising again. The Epilogue urges the audience to address the root causes of fascism now, as by the time a leader like Ui seizes power, it is already too late.



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