cannot thwart his mission. However, as bombs begin to rain and he witnesses Quillery transform from pacifist to fervent nationalist, a devastating epiphany strikes him. He questions the worth of saving lives in a world bent on self-destruction, pondering, “Why should I save people who don’t want to be saved — so they can go out and exterminate each other? Obscene maniacs!” With such a grim outlook, he retreats to Germany, resolved to develop chemical weapons.

This play unfolds a unique narrative where war is woven into the fabric of the theme rather than merely propelling the plot. While the impending conflict looms over every event, direct confrontation with the war itself is reserved for the climax. The guests find themselves marooned at the hotel, ensnared by whispers of an approaching battle. In the play's initial acts, the notion of war hovers as an abstract, theoretical presence.

However, a pivotal moment arrives during the middle scene of the central act: the looming war is declared a reality. This revelation acts as a catalyst, transforming the guests' demeanors dramatically. Take the Cherrys, for instance. Initially ensconced in their own romantic bubble, they suddenly face the grim prospect of separation under dire circumstances. This impending reality breeds a newfound irritability in their interactions.

The doctor, too, experiences a profound shift, his thoughts drifting from healing to harming. Quillery, once fixated on his identity as a laborer, now sees himself through the lens of national pride, identifying as a Frenchman. Meanwhile, Weber watches his companion Irene with keen eyes, seeking any sign of reluctance or fragility towards the violence of war. As the theoretical turns tangible, Irene becomes acutely aware of its inherent savagery.

Yet, amidst these swirling transformations, Harry stands as a pillar of consistency. His demeanor remains unchanged, marked by his jesting nature and penchant for upbeat melodies. A lifetime spent outsmarting others has steeled him against the unsettling truths of human nature. War fails to ignite fear, compassion, or indignation in him. Instead, it renders Irene vulnerable, leading her to confide in Harry, who, in return, risks his own safety under the threat of falling bombs.

The Rise of Patriotism in "Idiot's Delight"

In "Idiot's Delight," Sherwood masterfully illustrates how dire circumstances can awaken a sense of patriotism in even the most unlikely of souls. Take Quillery and Dr. Waldersee, for instance. Quillery, in the play's early moments, adamantly rejects his French heritage, associating it with nothing more glamorous than pig farming—his father's trade. He proudly claims allegiance to a modern class, identifying more closely with the industrial workforce and even aligning himself politically with Nikolai Lenin, the figurehead of the Russian Revolution. Yet, after Paris is besieged, a profound transformation occurs. Quillery suddenly embraces his Frenchness with fiery conviction, condemning the Italians for their aggression. His fervent patriotism seals his fate as he defiantly hurls curses and dies shouting slogans of national pride.

Dr. Waldersee's descent into patriotism is equally poignant but arises from despair. His dreams of curing cancer dashed by the war, he resigns himself to his innate identity as a German. It's a somber acceptance that underscores the pervasive pull of nationalism amidst chaos.

Symbolic Alliances and Their Impact

Sherwood reinforces his argument for the inevitability of patriotism through vividly symbolic confrontations. A scene unfolds where Quillery, in a heated confrontation with the Italian army, becomes a mouthpiece for national unity. Intriguingly, Harry and Mr. Cherry's attempts to quell the explosive barroom altercation align seamlessly with their established characters. Quillery, in a charged moment of camaraderie, declares, "You see, we stand together! France—England—America! Allies!" However, the swelling tide of patriotism is abruptly undercut as Harry, in a bid to protect Quillery from his own patriotic zeal, sarcastically retorts, "Shut up, France!" Through this, Harry's actions reveal a deeper concern for the individual standing before him than for the banners of nationalism flying overhead.

All the characters and relationships in Idiot’s Delight are defined or affected by the impending conflict between the Allied forces and Nazi Germany. The play’s perspective broadens as the play advances, beginning with the narrow sphere of the cocktail lounge and ending with the air raid that symbolizes a conflict that envelops all of Europe. Thematically, the play develops the idea that humans are too fearful, narrow-minded, and patriotic to resist the urge to defend national honor. Morally, war is regarded as abhorrent and evil, but, the play suggests, humans are too emotional and too easily manipulated by “patriotic jingoism” to live up to their moral convictions.

Each of the major characters represents a specific point of view about war, its nature, and its consequences. Harry Van, the optimist, believes that the desire for peace and goodwill are fundamental to human nature and will eventually triumph. Achille Weber, the most morally depraved of the group, believes that humans are driven by self-interest, as he is, and by national honor, which he exploits for commercial gain; patriotism, he declares, is simply a mask for greed and mistrust.

Quillery betrays the passionate believer’s weakness by succumbing to his own patriotic fervor, which turns into a ranting nationalism. His execution confirms the point that war is idiotic in part because it destroys harmless people like Quillery. The Cherrys represent the disruptive effects of international turmoil on young love and the allure of nationalism; they believe that their superiority and ability not to “give a damn” protects them against the war, but they too succumb to national fervor and abandon their aloofness. Dr. Waldersee also undergoes a complete reversal of spirit. In a fit of despair, he abandons his humanitarian research and dedicates himself to killing people, convinced by the outbreak of war that people are maniacs who do not want to be saved. If Weber is the complete cynic, Dr. Waldersee is the complete pessimist.

Irene shows the most development and is the most complex, hiding the secret of her past, confessing that her life has been a series of escapes, and ultimately seeing that Achille Weber is evil for his part in making war possible. She imagines the kind of horror for which Weber is responsible—the killing of babies, the destruction of cities—and at last, unable to accept his cynical opportunism and debased morality, she leaves him. Her decision ends a life in which she has always made escapes, she declares at one point, admitting that with Weber, she is a prisoner in an ivory tower. Ironically, her decision to escape that life leaves her confined to the hotel but free of the lies she has been living. Leaving him and deciding to face the future on her own demonstrate that she has at last found the courage to face the truth and the future.

Harry Van’s loyalty to Irene and to his troupe of dancers—he makes sure they are safely on their way to Geneva before returning to Irene—offsets Weber’s disloyalty and loveless nature. Harry’s character and actions are the mirror opposite of Achille Weber’s and contribute substantially to the play’s uplifting finale. As the others shrink into nationalism, Harry becomes increasingly compassionate and selfless. Robert E. Sherwood suggests that war does not transform everyone into monsters; some, like Harry and Irene, become the better for it. Their final union is an affirmation of love, trust, and courage. They are the only characters who see clearly the insanity of war, who do not succumb to nationalistic fervor, and who do not take up arms against others.