Raina's Bedroom

The play Arms and the Man by George Bernard Shaw opens in the bedroom of Raina Petkoff, a twenty-three-year-old from an affluent Bulgarian family. The setting is a curious blend of styles, described in the stage directions as "half rich Bulgarian, half cheap Viennese." This juxtaposition is reflected in the "oriental and gorgeous" drapes, bedclothes, and carpet, paired with "occidental and paltry" wallpaper and a dressing table of common pine. While the Petkoffs are wealthy, they lack the sophistication to tastefully decorate their home. This is further highlighted when Raina boasts to the Swiss army captain, Bluntschli, about her family’s status by pointing out that their home is the only one in Bulgaria with "two rows of windows . . . [and] a flight of stairs," and, as a final testament to their "civilized" standing, they possess a library.

The Library

The library, a central symbol of the Petkoffs' pretensions, serves as the setting for act three. Early in the play, Raina proudly mentions this library to an enemy soldier, and her father ensures that every officer he meets during the war is aware of its existence. However, when the audience finally sees this much-lauded room, it contains merely a single bookshelf filled with torn, paper-covered novels. Despite these modest contents, the library's furnishings—chairs and tables—are noted in the stage directions for making it "a most comfortable sitting room." Thus, the library epitomizes the family's exaggerated sense of cultural superiority.

The Garden

The garden, featured in act two, is part of the Petkoff estate and underscores the family's material wealth. However, the practice of hanging wet laundry on the garden shrubs reveals the Petkoffs' lack of true refinement. When her husband criticizes this habit by stating that "civilized people don’t hang out their washing to dry where visitors can see it," Catherine dismissively replies, "Oh, that’s absurd." This exchange further exposes the gap between the family's self-perception and their actual social sophistication.

Victorian Rule

Queen Victoria, the longest-reigning monarch in British history, was born in 1819 and ruled from 1837 to 1901. She married her cousin, Prince Albert, in 1840. It was Prince Albert who enforced the rigid behavior and strict decorum that have come to be known as Victorian values. The couple had nine children, whose marriages and descendants interconnected many of the European thrones, including grandchildren Emperor William II of Germany and Empress Alexandra, wife of Nicholas II of Russia. After Prince Albert’s death in 1861, Victoria largely withdrew from public life, which diminished both her popularity and the political influence she once held.

When Benjamin Disraeli became prime minister in 1874, he persuaded Victoria to re-engage in public affairs, helping her regain both public admiration and the title of Empress of India. Disraeli championed social reform and the expansion of the British Empire. In stark contrast, Victoria had a strong aversion to William E. Gladstone, who served as prime minister four times between 1868 and 1894. Although Gladstone was regarded as a great statesman, advocating for tax reforms, the cessation of colonial expansion, and Irish home rule, Victoria did not share his views.

England experienced relative prosperity in the late 1800s, despite some periods of high unemployment. Agricultural production reached its peak during this time. Although the Crimean War (1854–1856) was a disaster for England, the empire continued to expand, encompassing Canada, Australia, India, large parts of Africa, and various islands and ports in Asia and the West Indies. At its height, it is estimated that one-fourth of the world's population lived under British rule. Consequently, British influence was dominant globally during this era, leaving a lasting impact into the twentieth and twenty-first centuries.

Victorian Society

In the latter half of the nineteenth century, the family was seen as the cornerstone of society. The term “Victorian” has since become synonymous with strict manners and prudishness. However, the morality of the era was rooted in a sense of heroic idealism and a strong work ethic. Character and duty were the guiding principles of the time. While class divisions persisted, individual advancement within a class was encouraged. As in many societies, there was an underworld in Victorian England where prostitution thrived. This contradictory social landscape, amidst such morally high-minded times, inspired Shaw to write his play Mrs. Warren’s Profession, a comedy about a prim young woman’s discovery that her mother owns a series of brothels. The play was denied a license by the ministry until 1905 due to its controversial subject matter.

Victorian Literature

Throughout the nineteenth century, Victorian literature was renowned for its humor. Notable British authors like Charles Dickens, William Thackeray, and Lewis Carroll found great success with their comedic fiction. In the early Victorian era, theatre was known for its contrived plots, superficial romantic characters, and melodramatic elements, catering primarily to less educated audiences. By the middle of the century, playwrights Dion Boucicault and Tom Taylor gained popularity with their comedic productions, which often featured titillating stories about “fallen” women. Besides farces, many plays from this period involved complex and absurd plots.

Realistic drama began to emerge in the 1860s with the work of T. W. Robertson. However, it wasn't until the 1890s that leading dramatists Sir A. W. Pinero and H. A. Jones attempted to follow this trend. Despite their efforts, neither Pinero nor Jones completely broke away from the conventional expectations of theatergoers. Nevertheless, the impact of Henrik Ibsen led Pinero to contribute to the movement of writing serious “problem” plays, exemplified by his Second Mrs. Tanqueray (1893). Ibsen, a highly influential Norwegian critic and playwright, challenged social norms and hypocrisies through his work. His plays delve into genuine human issues and present well-developed characters grappling with their lives. Ibsen believed that drama could address social problems with honesty and significance. In 1891, J. T. Grein founded the Independent Theatre to showcase Ibsen’s plays; this theatre also staged George Bernard Shaw’s early works, which were greatly influenced by Ibsen. In 1895, Oscar Wilde brought further innovation to comedy with one of the greatest English plays, The Importance of Being Earnest.

Arms and the Man by George Bernard Shaw cleverly subverts traditional romantic and heroic tropes through wit and satire. This play draws from the genre of Ruritanian romance but inverts its conventions to reveal deeper truths about human nature and relationships. Shaw's unique blend of comedy and realism invites audiences to reconsider the idealized notions of love and heroism.

Ruritanian Romance

Ruritanian romance, a genre named after the imaginary country in Anthony Hope’s The Prisoner of Zenda, typically involves intrigue, adventure, and star-crossed lovers. Shaw embraces these elements in Arms and the Man but uses them to satirize the genre's absurdities. For instance, the anticipated sword fight is avoided as Bluntschli opts for reason over violence, embodying Shaw’s critique of dueling. The romantic ideals of the genre are also flipped, as the central couple abandons their fairy-tale engagement for a more authentic love, challenging the conventional constructs of romance.

Comedy

Shaw's use of comedy in the play is multifaceted and innovative. Similar to Shakespearean comedies, Arms and the Man resolves its narrative entanglements with the characters finding their rightful romantic partners. The use of comedic devices, such as a lost coat and an incriminating photograph, serves as the fulcrum for the ensuing chaos and humor. Yet, Shaw's comedy is not merely for entertainment; it serves as a vehicle for moral exploration and critique, transforming what could be mere farce into a commentary on societal norms.

Redefining Romance and Heroism

Rather than discarding romantic idealism, Shaw refines it. Through Bluntschli's character, Shaw introduces a pragmatic perspective that still accommodates romance, as evidenced by Bluntschli’s return to Raina's house for more personal reasons than duty. Raina's transformation reflects this new understanding, shifting from her admiration of Sergius's bravado to valuing Bluntschli's sensible heroism. Shaw redefines romance and heroism, positioning them within a realistic framework and urging both characters and audiences to adopt a broader view of these ideals.

1890s: After centuries under Ottoman Turkish rule, northern Bulgaria gains autonomy in 1878, and a unified Bulgaria declares its independence in 1908.

Today: Having allied with Germany during both World Wars, Bulgaria falls under Soviet control during World War II, remaining so until 1990. With the signing of the European Constitution in 2004, Bulgaria is effectively considered a full member of the European Union. Additionally, Bulgaria joins NATO in 2004.

1890s: Serbia becomes an autonomous principality in 1829 and is recognized as an independent nation in 1878. In 1882, Prince Milan Obrenović is declared king. Though he establishes a liberal constitution, his son Alexander, who rules from 1889 to 1903, abolishes it, leading to widespread discontent until his assassination in 1903.

Today: From 1992 to 2002, Serbia and Montenegro form the country of Yugoslavia. After 2002, they exist in a loose federation, with a referendum for full independence in each republic scheduled for 2006.

1890s: Arms and the Man sees limited production and does not receive much appreciation until several years after its publication.

Today: Arms and the Man is performed worldwide and stands as one of Shaw’s most celebrated plays.

A movie adaptation of Arms and the Man, written by Shaw and produced by John Maxwell, was made for British International Pictures in 1932.

SOURCES

Adcock, Arthur St. John, “George Bernard Shaw,” in The Glory That Was Grub Street: Impressions of Contemporary Authors, Stokes, 1928, p. 1.

“Bernard Shaw,” in The Norton Anthology of English Literature, 5th ed., edited by M. H. Abrams, Vol. 2, W. W. Norton, 1986, pp. 1759–62.

Borges, Jorge Luis, “For Bernard Shaw,” in Other Inquisitions, 1937–1952, by Jorge Luis Borges, translated by Ruth L. C. Simms, University of Texas Press, 1964, pp. 163–66.

Brecht, Bertolt, “Ovation for Shaw,” translated by Gerhard H. W. Zuther, in Modern Drama, Vol. 2, No. 2, September 1959, pp. 184–87.

Chesterton, G. K., George Bernard Shaw, John Lane, 1909, pp. 118–20.

Fisher, Barbara M., “Fanny’s First Play: A Critical Potboiler?” in George Bernard Shaw, edited by Harold Bloom, Chelsea House Publishers, 1987, p. 252.

Nevinson, H. W., “George Bernard Shaw,” in New Leader, August 23, 1929.

Shaw, George Bernard, Arms and the Man, in Plays: Pleasant and Unpleasant, H. S. Stone, 1898.

FURTHER READING

Booth, Michael Richard, and Joel H. Kaplan, The Edwardian Theatre: Essays on Performance and the Stage, Cambridge University Press, 1996.

This book offers an overview of the Edwardian entertainment industry through a series of essays that delve into cultural studies and the inner workings of the theatre during that era.

Davis, Tracy C., George Bernard Shaw and the Socialist Theatre, Praeger, 1994.

This work explores the theatrical and political influences on Shaw, examining his economic practices and theories in relation to his contributions to theatre.

Henderson, Archibald, George Bernard Shaw: Man of the Century, Appleton-Century-Crofts, 1956.

Henderson, Shaw’s official biographer, provides a comprehensive study of Shaw’s life and work, including his correspondence. Edited by Shaw himself, this book is a detailed account from someone who knew Shaw for 47 years.

Innes, Christopher, The Cambridge Companion to George Bernard Shaw, Cambridge University Press, 1998.

This guide offers a wide-ranging overview of Shaw's work, featuring essays by leading scholars on various topics related to the playwright.

Jackson, Russell, Victorian Theatre: The Theatre in Its Time, New Amsterdam Books, 1990.

Providing a detailed look at the Victorian stage, this sourcebook includes articles, letters from actors and managers, memoirs, contracts, and more.

Jenkins, Anthony, The Making of Victorian Drama, Cambridge University Press, 1991.

Jenkins examines the contributions of seven playwrights, including Shaw, who were instrumental in gaining respectability for the theatre. He also explores the social and political contexts in which these playwrights operated.