Suddenly Kattrin enters with wound across her eye and forehead, dragging the supplies behind her. She was attacked en route and permanently scarred. Courage attempts to console her, giving her Yvette's boots. Kattin leaves the boots and enters the wagon. Counting the scattered merchandise, Courage bitterly curses the war.

Courage appears at the height of prosperity, dragging the wagon and its new wares along a highway with the Chaplain and Kattrin. She wears a necklace of silver coins. She declares that she will not let "you" spoil the war for her; war feeds its people. She sings "The Song of Mother Courage" anew.

Analysis

As in scenes previous, Scene Six is framed by Courage's tireless work, in this case an inventory. Courage work is inexorable like the war itself. Thus Brecht notes that the Chaplain's extended speech on the longevity of the war must not play separately from Courage's anxiety over supplies; she makes calculations during the entirety of the Chaplain's monologue. Her commonplace inventory dictates the rhythm of the scene, punctuating its action. This action largely consists of two "historic moments," the funeral of Tilly and, in the "little people's" history of the war, the disfigurement of Kattrin.

With regard to the death of Tilly, Courage appears as a sort of wise woman, wryly delivering what the Model Book calls her own funeral oration on the fallen Tilly. The stage notes indicate that the Clerk in this scene constantly watches Courage in hopes of catching her in some incriminating speech. Her sarcastic commentary on Tilly is far too subtle. Her taking of inventory through her oration, moreover, brings out the irony of her reflections. For Brecht, Courage's laughter upon these disruptions expresses the merriment she must hide in her evasively subversive speech.

Halfway through the scene, Courage interrupts her work, taking her first break in the play. Increasing prosperity has softened her. The Chaplain takes advantage of this pause to propose to her. Courage puts him in his place, deflating his appeals to her heart. She is simply trying to survive and he is her dependent. He would do best by making himself useful.

The war interrupts this failed courtship with Kattrin's disfigurement. Notably, she incurs this wound while defending her mother's merchandise. As the Model Book indicates, Kattrin blames her mother for her disfigurement. Prior to her final entrance, the scene heightens the tragedy of her mutilation with the allusions to her hopes of marriage and her flirtation with the singing soldier at the counter. For Brecht, these are the last moment she appears "capable of love." Scarred, she becomes a ruined woman, thus the poster introducing the scene ironically summarizes Kattrin's wounding as her acquisition of the whore's boots. Kattrin rejects this unthinkingly cruel gift, Courage suggesting in not so many words that she can now play the whore freely as no man will have her.