In contrast, Yvette returns here as, to quote Mother Courage, the only character who makes her fortune through the war. The play's judgment of her is inscribed on her body. Fat, heavily made-up, and speaking with the affected accent of the Austrian aristocracy, she appears grotesque in her prosperity. As the Model Book indicates, "eating has become her only passion." Moreover, it is not for nothing that the character who makes it is the former camp whore. As Yvette trades her body for material gain, her disfigurement is the price she pays for her wealth.

Perversely, Brecht appears in some sense to consider her disfigurement in the same breath as Kattrin's. Thus, Yvette appears as "badly disfigured by good food as Kattrin by her scar." Their bodily mutilations are in no way analogous. Nevertheless, once again does the play Yvette and Kattrin become doubles. In some sense, it compulsively twins the whore and its most virtuous woman, betraying a certain fantasy its holds of the feminine.

Despite this temporary hiatus, one of the "islands of peace" described by the Chaplain earlier, the war reasserts itself. Courage's closing song, celebrating the war anew as her breadwinner, emphasizes human complicity in the war's maintenance: "If it's to last, the war needs you." As her recruitment song makes clear, war is not a force of the elements, but the workings of men. The crushing dramatic irony of this celebratory song is of course Courage's ignorance of Eilif's death, an irony underscored by her references to an imminent meeting with her son and her musings about his new heroic exploits. Courage will never come to know this loss during the play. As the Model Book grimly observes, she will literally ride over her son's grave.