Themes and Meanings (Masterplots II: Drama)
Arms and the Man is most obviously an attack on the false ideals of warfare and the soldier’s profession. Late nineteenth century British society, especially the aristocratic element, tended to see war as noble and soldiers as brave, courageous, fearing nothing—resolved to conquer or die. Many military melodramas of the period upheld these virtues, but they were performed for a civilian audience; soldiers themselves did not think this way, as Shaw has Bluntschli make clear. Not a pacifist, Shaw is not opposed to war when necessary, but he does demand that it be seen for what it is—war makes men tired and hungry, afraid and nervous. In the person of Bluntschli and in his comments about battle, Shaw establishes the opposition with Raina and Sergius, the arch romantics of the play. The satire of the play is aimed at the poetic view of war and the soldier and at the commonplace conjunction between the soldier, aristocracy, and love. These were the staples of the standard military melodrama of the period; here, Raina breaks the pattern in which only the brave deserve the fair and chooses for her mate the practical, professional, middle-class Bluntschli.
The key elements of the play are really contained in Sergius and Raina, rather than in Bluntschli. Bluntschli really never changes in the course of the play; he is the standard against which the others are measured. Raina learns to disabuse herself of her impossible ideals, ideals which have no...
(The entire section is 465 words.)
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Romanticism of War
In line after line, Shaw satirizes the romantic notions about war that glorify a grisly business. If not for the comic dialogue, the audience would more easily recognize that they are being presented with a soldier who has escaped from a horrific battle after three days of being under fire. He is exhausted, starving, and being pursued. Such is the experience of a real soldier. Late in the play, Shaw throws in a gruesome report on the death of the man who told Bluntschli’s secret about staying in Raina’s bedroom; there is nothing comic or heroic about being shot in the hip and then burned to death. When Raina expresses horror at such a death, Sergius adds, “And how ridiculous! Oh, war! War! The dream of patriots and heroes! A fraud, Bluntschli, a hollow sham.” This kind of description caused Shaw’s critics to accuse him of baseness, of trying to destroy the heroic concept. That a soldier would prefer food to cartridges in his belt was considered ludicrous by critics, but in the introduction to Plays: Pleasant and Unpleasant, Shaw was reported to have said that all he had to do was introduce any doubters to the first six real soldiers they came across, and his stage soldier would prove authentic.
It is also noteworthy that Catherine is dissatisfied with a peace treaty because, in her unrealistic vision of glorious war, there is supposed to be a crushing rout of the enemy followed by celebrations of a heroic victory. Shaw’s message here is that there can be peaceful alternatives to perpetual fighting. He was dedicated throughout his life to curbing violence, especially that of wars, and Arms and the Man was one of the vehicles he used to plead his case.
Romanticism of Love
Shaw was a master flirt and he enjoyed the playful farce of romantic intrigues. But he recognized that playing a game differed from serious love, and he tried to convey as much in Arms and the Man, which is subtitled “An Anti-Romantic Comedy.” In the play, Raina and Sergius have paired themselves for all the wrong reasons: because their social status requires a mate from the same social level; and because Sergius plays the role of the type of hero that Raina has been taught to admire, and Raina plays the role that Sergius expects from a woman of her station. The problem is that neither is portraying his/her real self, so their love is based on outward...
(The entire section is 970 words.)