What instances in chapter 1 of The Boy in the Striped Pajamas show Bruno's youth and naivety?

One indication that Bruno is young is that he has never had to move before. He associates packing with temporary relocation, such as summer vacation, and finds it difficult to understand that his family’s upcoming move will be permanent. That he is naïve, or perhaps has been protected by his parents, is indicated by his lack of understanding of the difficult situation in their city. When he protests the move, as it will take him far from his friends, his mother justifies it as making them safer from the recent unrest.

Another indicator of his naiveté is that he seems not to understand how well-to-do his family is. They live in a big house with servants, which he seems to take for granted. His appreciation of their wealth seems largely restricted to the physical advantages, such as sliding down the banisters, of their home. As he has no idea what his father does at the office, he is very far from being able to understand such a thing as complicity in Nazi genocide.

In The Boy in the Striped Pajamas, Bruno's naiveté is demonstrated in his first reaction when he sees his things being packed and he believes that he has done something wrong. Then, he does not realize that they are leaving Berlin, nor the reason for this move. 

In addition to these examples of Bruno's naiveté, he seems to only know that his father wears a "fantastic" uniform. His knowledge of the man and woman who visit their home--the "Fury" and the pretty blonde woman who waved good-bye to him as he was sent from the room one day--is very limited, as well.

Further, as he speaks with his mother, Bruno suggests that they need to return soon because he has "made plans" for the summer with his three friends, Karl, Daniel, and Martin. Then, he is shocked when his mother tells him that they are making a rather permanent move and he should say good-bye to the three boys, "as if the making of a boy's three best friends for life was an easy thing."

How would you describe Bruno's character in The Boy in the Striped Pajamas?

The story begins with Bruno having to move with his family. They currently live in Berlin, but his father got a job promotion and they have to move. Bruno is very unhappy with this, because all of his friends live in Berlin. He thinks he will never have another friend again.

Bruno is a very clever and adventurous young boy. He longs for adventure and thinks that in his new home, he might find some adventure. He is a curious young boy and wants to roam about the new place. He is also very naive. He doesn't have a clue what his father does for a living. When he meets Schumel across the fence, he doesn't realize why the young boy is there. He thinks Schumel is the one getting to have fun.

"It's so unfair. I don't see why I have to be stuck over here on this side of the fence where there's no one to talk to and no one to play with and you get to have dozens of friends and are probably playing for hours everyday. I'll have to speak to Father about it."

When Bruno makes this statement he has no idea what his new found friend's life is really like. Bruno is very unaware of what is really happening. 

Bruno also is a very good friend. He and Schumel develop a true friendship. When Bruno sneaks under the fence to help his friend look for his father, he thinks he is going on another adventure. He has no idea this will be his last adventure ever.

And then the room went very dark and somehow, despite all the chaos that followed, Bruno found that he was still holding Schumel's hand in his own and nothing in the world would have persuaded to let him go.

This line in the book is always heart wrenching. The two young boys think they are going on an adventure, but soon realize that this is the end. Bruno had never touched his friend before, but at the end, they were holding hands as equals. 

Innocent: Bruno's innocence is conveyed through his references to "the Fury" and "Out-With." He believes Shmuel's uniform is a pair of striped pajamas and cannot fathom how Shmuel lives with so many people in one small room. Bruno does not know what his father does as a soldier, only that Ralf wears an impressive uniform. Bruno's lack of knowledge on the true purpose of Auschwitz is ultimately what gets him killed; he enters the camp and puts on a uniform given to him by Shmuel, and they are both sent into a gas chamber.

Sensitive: Bruno gets upset when people like Lt. Kotler call him "little man," as he is short for his age. Bruno is sensitive to Shmuel's criticism of soldiers, as Bruno highly respects his father's job. After Pavel is punished by Lt. Kotler for spilling wine at dinner, Bruno is still emotionally unsettled as he lies in bed that night.

Brave: Bruno considers himself to be an explorer, and a key element of this role is to have the courage to venture into new territory. He offers to help Shmuel look for his father on the other side of the fence, crossing into the dangerous confines of Auschwitz concentration camp, where he is killed in a gas chamber.

Sensitive: Bruno gets upset when people like Lt. Kotler call him "little man," in reference to the fact that he is short for his age. Bruno is sensitive to Shmuel's criticism of soldiers, as Bruno highly respects his father's job. After Pavel is punished by Lt. Kotler for spilling wine at dinner, Bruno is still emotionally unsettled as he lies in bed that night.

Adventurous: Throughout the novel, Bruno mentions that he wants to become an explorer when he grows up. He recalls going on various expeditions and exploring places at his old home in Berlin. When he arrives at Out-With, he is curious and longs to go on adventures to explore his new environment. Bruno finally gets his chance to be an "explorer" when he is asked to help find Shmuel's father. Tragically, Bruno's final expedition leads him to a gas chamber where he loses his life.

Polite: Bruno is a polite child who has strong morals and a conscious. He never interrupts adults when they are speaking, and does not mention sensitive subjects around his new friend out of fear that he will offend him. Bruno treats Maria, Pavel, and Shmuel with respect, despite the fact that many adults display contempt for them. He shows sympathy for Shmuel and regrets denying their friendship in front of Lieutenant Kotler. When he sees Shmuel following their precarious situation in the kitchen, he is quick to apologize for his actions.

Lonely: Bruno is lonely when he first arrives at Out-With. He continually mentions that he misses his old friends, and longs to play with Shmuel. Bruno tells Shmuel that he wishes he lived on the other side of the fence because there are other children who live there. In Bruno's mind, Shmuel is lucky because he is surrounded by so many kids.

Bruno is a heroic figure in The Boy in the Striped Pajamas.

The way Bruno views people leaves an impression.  Bruno treats people as ends in of themselves, and not as a means to an end.  In this regard, Bruno is authentic. While he might make mistakes, such as thinking that Pavel could not be a doctor or letting Shmuel take abuse from Kotler, Bruno makes amends.  He does not mistreat people deliberately.  This makes him different from others in the novel.  Bruno's father looks at Auschwitz as enhancing his career, while Gretel sees the embrace of Nazism as a vehicle for popularity.  Bruno's mother fails to speak out when she knows better, while Kotler is the prototypical Nazi when it comes to abusing people. Bruno is heroic in the honorable way he treats people, something rare in the Holocaust time period.

Bruno is heroic in how he stands by his word to Shmuel. Once again, it was rare for people to be this decent during the Holocaust.  When Bruno promises Shmuel that they will go on an "adventure," he sees to it that they do. Eve though Bruno is scared about what he finds on the other side of the fence, he does not back away from his promise of being there for his friend.  Finally, as he and Shmuel walk into the gas chamber, into terrifying reality, he affirms their friendship.  Bruno's heroism can be seen in his loyalty towards Shmuel.

Finally, I would say that Bruno is heroic because he is an example of how people should behave even in the worst of situations.  During the Holocaust, there was so much cruelty that not taking action or being apathetic could be seen as a virtue.  Given how badly people behaved, not doing anything was better than perpetrating evil. However, Bruno is a reminder that in the worst of times, human beings must act in the best of their nature. Relativism does not apply to human decency.  Bruno embodies the very best during the very worst, and this impression makes him heroic.

Round characters are usually the major ones in a story who are fully developed and explained in direct and indirect ways. For instance, in John Boyne's The Boy in the Striped Pajamas, Bruno is a round character because his personality is explained by the way he behaves, the things he says, and the choices he makes throughout the book. Round characters also face conflicts that challenge what they believe by placing them in moral dilemmas. Bruno is a dynamic character as well because he learns about his own weaknesses and does his best to change himself for the better. For example, Bruno discovers that he can be a disloyal friend when he lies to Captain Kotler about knowing his Jewish friend Shmuel in chapter 15. Bruno's feelings are described after he denies knowing his friend in the following passage:

"His stomach churned inside him and he thought for a moment that he was going to be sick. He had never felt so ashamed in his life; he had never imagined that he could behave so cruelly. He wondered how a boy who thought he was a good person really could act in such a cowardly way towards a friend" (174).

This is the first time that Bruno faces an intense moral conflict and must decide if he will tell the truth to save a friend or save himself. As shown above, he does not feel good about the choice that he makes to save himself from trouble at Shmuel's expense. As a result, he does not pass up a chance to help Shmuel the next time he needs it. When Shmuel asks Bruno to help him find his father in chapter 18, Bruno wonders about getting caught behind the fence, but eventually says the following:

"Of course . . . It would be a great adventure. Our final adventure. I could do some exploring at last . . . We'll take a walk around and see whether we can find any evidence. That's always wise when you're exploring" (198-199).

Bruno proves his loyalty to his friend by putting on a pair of striped pajamas and going over to Shmuel's side of the fence. He knows that he might get in trouble, but he does it anyway because he has learned that he does not want to be a coward or a disloyal friend again. Therefore, Bruno shows that he is a round character because he faces a moral dilemma that challenges his character, and he is a dynamic one because he makes a change for the better and does not make the same mistake twice. 

Bruno doesn't understand the people on the other side of the fence.  He has been kept ignorant since he is a small child of nine.  When he first meets Shmuel he thinks it is unfair that he doesn't have anyone to play with and talk to but Shmuel gets "to have dozens of freinds and are probably playing for hours every day." (pg 111).  Shmuel tells him that he is from Poland, and Bruno decides that Poland is in Denmark "because that's many miles away." (pg 112).   Shmuel tells Bruno how he was forced out of his home and brought to the camp.  Bruno equates it with moving from Berlin to Auswitz. He cannot imagine that more than one person would live in a room.  When Shmeul had a black eye, Bruno assumes there are bullies on the other side of the fence. (pg 150).  It says that Bruno got "increasingly fedup that he had to wear trousers and shirts and ties and shoes that were too tight for him when Shmuel and his friends got to wear striped pajamas all day long" (pg 152) Bruno has a discussion with Gretel about why they are not allowed on the other side of the fence.  Gretel tells him it is because they (the people on the other side of the fence) have to be kept with their own kind --- Jews.  Bruno doesn't know what Jews are and asks if they are Jews. (pg 182) Finally, Bruno does not understand the striped pajamas and thinks if he wears them, then they will not notice him in the camp.  Unfortunately, that is so true.  On page 207 it explains that Bruno thought that all the huts were full of happy people and that the children would be playing tennis or football.  He had thought there would be shops like in Berlin.  He was shocked with what he saw inthe camp. He went over on the other side to help Shmuel find his father because he never knew what was happening to the people there.  He had no fear because he was innocent and unaware.

In many ways Bruno's father is the perfect Nazi. He is a strict authority figure who obeys orders and expects to be obeyed without question by his family, servants, and those beneath him. He believes fully in the Nazi notion of race and hierarchy. He buys into the ideology that some are meant to be the master race and some are beneath contempt. He tells Bruno he is nothing like the Jews, refusing to acknowledge that they are as fully human as he or his family. He tells Bruno:

You have nothing whatsoever in common with them.

Although Bruno's father wants to get ahead, is pleased with being sent to Auschwitz as Commandant, and is delighted to entertain Hitler, he also has at least some remnants of a moral compass. This emerges in the way he tries to keep his family life separate from the concentration camp next door and to shield Bruno from it. Nevertheless, his work does put a strain on his family and his marriage, especially as it horrifies his wife when she finds out what is really going on in the camp.

Characterization—telling the audience about a character's personality—can be built in a few specific ways: through the narrator's words, through the character's words, through the character's actions, and through other characters' words. John Boyne's book is told through third person limited narrative voice. An outside, unknown narrator tells the story, but the story is limited to Bruno's perception.

Although we learn about Bruno through his own actions and thoughts, the narrator does give us details as well. For example, when faced with their last moments, Bruno reaches down and holds Shmuel's hand, cementing their friendship. However, it is the narrator who steps in and tells us what a dynamic shift this is for Bruno: “He looked down and did something quite out of character for him: he took hold of Shmuel's tiny hand in his and squeezed it tightly."

By giving us the outside narrator, Boyne is able to better show the maturity that happens with Bruno. He is able to absorb his new experiences and grown from them, doing things "out of character"—something which we all need to remember to occasionally do.

In The Boy in The Striped Pajamas, Bruno is the narrator and the plot unwinds from Bruno's perception although the reader can understand the implications of those things beyond Bruno's scope.

John Boyne develops Bruno's character through Bruno's experiences, relationships and the way in which he faces and deals with matters beyond his understanding, as if they are just new opportunities, to be taken at face value. He does not understand how important his father must be as one of "The Fury's" top commanders. As a very accepting child, Bruno, although inquisitive and ready with questions, is a very obedient child who never reads further into a situation beyond what he is told. 

The author reveals Bruno as an innocent, respectful child, oblivious to class differences or the purported reasons for them. Even outside the safety of his home in Berlin, Bruno's character develops as an average, self-absorbed nine-year old's character would, ensuring that his character is believable and realistic. His attempts to appear to grasp adult concepts add an irony that adds to the deep loss the reader feels by the end of this book:

"We can chalk it up to experience,' he added, a phrase he had learned recently and was determined to use as often as possible."

Most nine year olds do not question the authority of others but do see the world from a very selfish perspective: "I think Father should think twice about his job, don't you?" he asks Maria, aware only of the unfairness towards himself.

Bruno does not wonder why some have jobs as maids and butlers and others as high-ranking army officers; why some children's fathers' are greengrocers and others are soldiers. He knows "all the jobs that ... decent, respectable fathers" do and it is enough for him. 

In stark contrast to his own character development, the reader is introduced to Schmuel who has a completely different perception which does not detract from Bruno's in any way. Boyne allows the boys' similarities to bring them together as friends and not their differences. Just as Bruno envisions life as he has seen it through the window in Berlin, then from his new home, so Schmuel's outlook contrasts sharply as he  "didn't like to look out of it (the window) because then I would see the wall and I hated the wall."It is beyond Bruno's comprehension that his father, or anyone, could purposefully harm and destroy the lives of others for no reason so he cannot process the possibility.

Even at the end, as Bruno and his "friend for life" face the gas chamber together, after Bruno has realised that there are not families picnicking inside the fence and it is strikingly different than he imagined and even though he wants to go home, his character remains pure and he has no comprehension of his imminent fate.   

The innocent and unsuspecting son of a Nazi officer, nine-year-old Bruno is a German boy who finds himself unexpectedly uprooted from a civilized and comfortable life in an upper-class section of Berlin where he has friends and grandparents. 

After arriving at Auschwitz, Bruno is surprised by the isolation of the place and the inferiority of their new house when compared to the one in Berlin. He finds it "the loneliest place in the world," and he cannot find anything “to laugh at and nothing to be happy about.” There are no other children with whom he can play; there is no park, no interesting buildings and no museums to visit. He does not like the young lieutenant who comes to his father's office.

After several weeks at what Bruno calls "Out-With," Bruno makes an effort to amuse himself since he has no friends. When he notices a tree with a sturdy lower branch, Bruno goes outside after locating rope in the basement. He approaches Lieutenant Kotler, who talks with Bruno's sister, Gretel, and asks the young officer if there are any tires that he can use for a swing. Kotler harshly calls Pavel, an older man who prepares the evening meals for the family. Later, Bruno falls out of his swing and injures himself. Pavel comes to Burno's rescue by carrying the boy inside where he administers to the gash in his leg. Afterwards, Pavel explains to a worried Bruno that he used to be a physician, and he knows how to care for wounds. When Bruno's mother returns, the boy tells his mother what happened. As he heads to his room, Bruno wonders why his mother instructs Pavel that she will tell the Commandant that it was she who tended to the wound on Bruno.

One day, Bruno decides to explore the large, desolate area that is fenced and tries to discover what it is that makes the people in striped "pajamas" different from the other men who seem to herd them around the area. When he reaches the fence, Bruno walks along the perimeter, but he sees no one and no place where he can enter. Finally, he encounters a small boy with "an enormous pair of sad eyes” who sits on the ground. Bruno talks with this boy named Shmuel, who is also nine and has the same birthday as Bruno. As they talk, Bruno naively asks Shmuel why so many people are inside the fence and what they are doing.

One evening Bruno discovers Shmuel in his kitchen. Shmuel tells Bruno that he was brought in to clean inside the glasses because he has small fingers. It is then that Bruno notices that Shmuel’s fingers look like “dying twigs” and he finally begins to think that whatever goes on at Out-With is “a very bad idea.” When he pulls out some pieces of chicken from the refrigerator, Bruno notices the intense watchfulness of Shmuel, so he offers the thin boy the meat. Unfortunately, Shmuel is observed eating the chicken by Kotler. When he is interrogated, Shmuel tells the lieutenant that Bruno gave it to him, but, out of fear of Kotler, Bruno denies that he has done so.

Ashamed of his behavior, Bruno apologizes to Shmuel at the fence when he next sees the frail boy. Shmuel tells him it is "all right," but he has bruises all over his face. Bruno feels terrible. It is not long before Bruno learns that he, along with his mother and Gretel, is to return to Berlin. When he next talks with Shmuel, Bruno learns that Shmuel cannot locate his father. Wishing to be together, Bruno and Shmuel come up with a plan. Shmuel finds an extra pair of striped "pajamas," and Bruno climbs into them. He crawls under the fence, and they search for Shmuel's missing father. Bruno begins to feel a strange presentiment that something is wrong—and he wants to go back—but suddenly there is a whistle sound. The boys are then pushed into the center of a mob, and they are all moved into a stifling room. Bruno takes Shmuel's hand, telling him that he is Shmuel's "best friend for life." They die together in a gas chamber.

I think that one of the strongest ways to describe Bruno's character is that he is transcendent.  Bruno is a non- conformist, unable to embrace how a world around him is in love and enamored with Nazism and Nazi ideals.  Bruno's character is one that seeks to transform what is into what can be.  This is evident in different points, such as finding out more about Maria or understanding Pavel in a different light.  His friendship with Shmuel is the best example of how Bruno wishes to transform what is into what can be.  He is not one to be content with how reality is constructed, and is always seek to broaden his own horizons of how reality can be.  When told not to go to the end of the fence, Bruno does.  Bruno's characterization is described constantly in the book through terms that shows him to be one who wishes to expand his own imagination and his sense of understanding about the world with his place in it.  He is shown to be a character who transcends the condition of what is and moves into what can be.  With his sacrifice at the end of the novel and one that dawns on all of his family as to what he did, this becomes confirmed as a permanent part of his characterization.

Bruno is above all else shown to be a young boy greatly perplexed by the world around him and what he sees. When he moves from his home in Berlin to the curiously named "Out-With," it is clear that Bruno is very unhappy at first, because he misses his friends and his school. In addition, he finds it incredibly strange that the children and men he can see from the bedroom window in his house are all wearing the same pajamas and also seem to be treated very differently. Bruno's overwhelming characteristic therefore is innocence, as he is not aware of the complex situation of which he is a part. This innocence, which of course is made ironic by the reader's understanding of what is happening, is highlighted perfectly in the following quote, where he bids farewell to his father as instructed when he leaves his father's study in Chapter 5:

"Heil Hitler," he said, which, he presumed, was another way of saying "Well, goodbye for now, have a pleasant afternoon."

Bruno has no knowledge of what the true meaning is of his actions and words, just as he can't understand or make sense of the world around him. He is a child plunged into a world of complexity where he is left to draw his own conclusions based on his scant life experience. This is of course what makes the novel so successful, as the reader is forced to see something that they have heard a lot about through the eyes of a child who knows nothing about it at all. We understand the Holocaust in new and much more vivid way, which only adds to the horror of its depiction. 

In The Boy in the Striped Pajamas, how is Bruno portrayed as innocent and naive?

As an eNotes Educator who is currently the mother of a nine-year-old girl, I feel especially equipped to answer this question.  No, I don't think Bruno is too naive.  My child continues to hear words wrong (one example is "corder" for "quarter").  So Bruno's misunderstandings of "Auschwitz" as "Out-With" and "the Führer" as "the Fury" are completely believable.  Remember that Bruno's innocence is always infused with wisdom.  Bruno questions almost everything the Nazi regime stands for.  Here is a quotation that is a perfect example: 

What exactly was the difference? He wondered to himself. And who decided which people wore the striped pajamas and which people wore the uniforms?

Bruno's simple questioning of the Nazi belief here shows his lack of naivete.  Further, Bruno proves he is not naive further through his relationship with Shmuel.  Bruno simply rejects the idea that a Jewish boy like Shmuel is not "a person" such as Bruno's father would have Bruno believe.  

Very slowly [Bruno] turned his head back to look at Shmuel, who wasn't crying anymore, merely staring at the floor and looking as if he was trying to convince his soul not to live inside his tiny body anymore, but to slip away and sail to the door and rise up into the sky, gliding through the clouds until it was very far away.

Bruno's observation here is far from naive.  It proves that Bruno sees Shmuel as a person with a soul:  a person who wishes to escape, even if that escape is only possible in his mind.

How does Bruno, the protagonist, evolve throughout The Boy in the Striped Pajamas?

Bruno’s character does not significantly evolve from the beginning to the end of the story. He is introduced as and remains a kind-hearted, naïve, innocent child who follows his own unwitting logic based on his limited and sheltered life.

In the beginning, Bruno is presented as a nine-year-old boy living in Berlin during World War II—a time and place most people would choose not to be. However, given his young age and his father’s rank as a Nazi officer, Bruno has no choice in being caught in the war. Bruno's naiveté is evident in his lack of proper pronunciation of simple words, as well as in his befriending an “enemy,” Shmuel. This friendship further illustrates Bruno’s sheltered life as a child of privilege, since he doesn’t even grasp the fact that the Nazis, of whom his father is a member, are trying to eradicate Shmuel’s people.

Throughout the novel, different people in Bruno’s life keep sheltering him and urging him to keep his head down and wait for the storm of war to pass, as if the war should not affect him. In chapter 6, Maria says to him:

Bruno, if you have any sense at all, you will stay quiet and concentrate on your schoolwork and do whatever your father tells you. We must all just keep ourselves safe until this is all over. That’s what I intend to do anyway. What more can we do than that after all? It’s not up to us to change things.

Bruno seems to accept this advice, since, even though he is interested in a wide array of subjects—including art and exploring—he still wants to be a soldier just like his father when he grows up.

In chapter 13, when Shmuel tells Bruno that “There aren’t any good soldiers,” Bruno insists that his father is a good soldier. This shows that despite having developed a friendship with Shmuel, Bruno still doesn’t understand that as a Nazi officer, his father really isn’t a good soldier—especially not good for his new friend, Shmuel.

It is not until chapter 14 that Bruno begins to comprehend the deep differences between him and his new friend. At this point we see him begin to develop a deeper connection with Shmuel as he contemplates what is actually happening around him:

Bruno tried to return to his book, but he’d lost interest in it for now and stared out at the rain instead and wondered whether Shmuel, wherever he was, was thinking about him too and missing their conversations as much as he was.

At this late point in the novel, the shell of Bruno’s sheltered life begins to crack; he is ready to emerge and fly to the other side of the fence. But he does not understand that there can be no return from this step, which will be a certain death sentence. He simply wants to be with his sad new friend.

In chapter 16, we are face to face with the harshness of reality and the dangers of Bruno’s innocence: “ ‘I look just like you now,’ said Bruno sadly, as if this was a terrible thing to admit. ‘Only fatter,’ admitted Shmuel.”

In the end, the reader mourns the demise of Bruno and Shmuel, and we are left with the harsh reality of war and its devastating effect on children above all else. Bruno, who wanted to be a “good soldier” like his father, fails to see the truth that is before him. Instead he lives and dies with the innocence only found in the heart and mind of a child.

In Boyne's The Boy in the Striped Pajamas, how do Bruno's experiences change him?

Bruno, the nine-year-old protagonist of John Boyne’s The Boy in the Striped Pyjamas, matures over the course of this coming-of-age story. Bruno’s first person narration creates moments of poignant dramatic irony as the reader understands what is really taking place at “Out With” (Bruno’s mispronunciation of Auschwitz) while Bruno remains blissfully ignorant. This tension between Bruno’s naiveté and his emerging understanding is at the center of his character’s development.

When Bruno’s family first moves from Berlin to “Out With,” Bruno is self-absorbed, hating his new home and completely unaware of the horrors taking place on the other side of the fence. Bruno is curious by nature, but, while he fancies himself an explorer, he ironically fails to question what his father really does, why the rules of social status dictate that some are servants and others are served, or why his new friend looks skinny and sad. Bruno gazes from the window of his new home but decides he “didn’t like to look out of it because then I would see the wall and I hated the wall.” Bruno spends his time whining and complaining, oblivious to others’ feelings or experiences. Early in the story, he chooses to look away rather than confront harsh reality. Bruno’s childish embrace of ignorance serves as a metaphor for those citizens who decided to be silent in the face of the horrors of the Holocaust.

Bruno does, however, grow in understanding and maturity throughout the story. Through interactions with Pavel and Maria, servants in his family’s house, Bruno begins to broaden his perspective and develop empathy. The central relationship of the story, though, is the friendship that develops between Bruno and Shmuel, the boy in the striped pyjamas on the other side of the fence. Bruno’s motives at first are selfish; the friendship simply quells his loneliness. Bruno pushes away disturbing thoughts about his new friend, thinking, “sometimes people who were sad didn’t want to be asked about it.” Later when Shmuel appears in Bruno’s home helping as a servant, Bruno betrays his friend by denying knowing him, causing Shmuel to be harshly punished. Later, Bruno regrets his actions, and Shmuel forgives him. The true turning point of the story that reveals Bruno’s growth occurs toward the end when Bruno goes under the fence with Shmuel, wears the same striped pyjamas, and, despite his fear, decides to stay with his friend rather than flee. Bruno takes Shmuel’s hand in his own and says, “You’re my best friend Shmuel, my best friend for life.” This act of loyalty seals Bruno’s fate with Shmuel’s as they are led to a gas chamber.

Bruno changes his perspective about friendship because of his interactions with Shmuel. He learns the meaning of loyalty, sacrifice, and courage.

When Gretel (his sister) demands information about his friend, Bruno pretends that Shmuel resides in his imagination. As Gretel taunts him for having an "imaginary friend," Bruno decides that he will tell her about Shmuel. He isn't worried about exposing his secret friendship with Shmuel because he has already convinced Gretel that Shmuel is imaginary.

As Bruno tells Gretel about Shmuel, we can see how Bruno has changed. He is no longer the peevish boy who complained bitterly about leaving Berlin and his best friends (Karl, Daniel, and Martin) behind. Now, he is Shmuel's friend, and he shows obvious concern for Shmuel's welfare. During his conversation with Gretel, Bruno quietly relates Shmuel's grief at discovering that his grandfather is missing. 

He recounts how sad Shmuel was when the latter told him the story of his missing grandfather. After Bruno finishes speaking, he suddenly realizes that he neglected to comfort Shmuel or to offer him words of encouragement. Bruno is horrified at his seeming insensibility to Shmuel's emotional anguish, and he privately berates himself. He decides to apologize to Shmuel for his insensitivity the next day.

Bruno's behavior shows that his interactions with Shmuel have changed him. He has become more sympathetic in nature and is less absorbed with his private grievances. Before he returns to Berlin, Bruno offers to help look for Shmuel's father (who is now missing).

At the camp, Bruno is devastated by what he sees: soldiers in uniform mistreating unhappy, crying prisoners in "striped pajamas." The scene destroys his previously composed mood, and he tells Shmuel that he wants to leave. However, Shmuel reminds Bruno of his promise to help look for his father. In the end, Bruno stays. He keeps his promise, despite his fear.

Presumably, the boys die after a group of soldiers corral them into a gas chamber. Bruno's last words testify to how he has changed. Even though he senses that something is wrong, his focus is on comforting Shmuel. No matter what happens, Bruno insists that he will be by Shmuel's side.

'...when you come to Berlin, that's what we'll do. And I'll introduce you to ... Oh, what were their names again?' he asked himself, frustrated because they were supposed to be his three best friends for life but they had all vanished from his memory now...'Actually,' he said, looking down at Shmuel, 'it doesn't matter whether I do or don't. They're not my best friends any more anyway.' He looked down and did something quite out of character for him: he took hold of Shmuel's tiny hand in his and squeezed it tightly. 'You're my best friend, Shmuel,' he said. 'My best friend for life.'

In The Boy in the Striped Pajamas, how do Bruno's experiences change him?

Bruno is the son of a Nazi commandant in The Boy in the Striped Pajamas. He has a very regulated upbringing. He knows that certain things are "out of bounds at all times and no exceptions" which is the title of chapter 5, but that does not stop him (in chapter 5) from voicing his objections when he thinks that things have gone too far; the family is uprooted from its beloved home in Berlin and sent to a place that can only be described as "desolate" (chapter 2). Bruno bravely confronts his father which is something he would never have done in Berlin. Previously, and in Berlin, he had mainly been in his father's office when he had been naughty so this behavior reveals Bruno's changing nature. He even surprises himself when he bursts out "I don't want to accept it" when Father tells him that "Out-With" is Bruno's new home. The fact that Bruno leaves his father's office "unsatisfied" further indicates that he will no longer accept matters blindly.

In chapter 6, Bruno has a discussion with Maria, the maid. Ordinarily, it is not something he would need to do but his circumstances dictate it because there is no-one else his own age to talk to, except Gretel who is "a hopeless case." Bruno even shocks Maria when he says "Stupid Father." He is becoming more discerning of fairness, noting that the rules that apply to children "never seemed to apply to grown-ups." Bruno also changes in his view of his mother when she takes "credit for something she hadn't done" (ch 7) after Pavel tends to Bruno's injured knee.  

After Bruno befriends Shmuel, he becomes more accepting of the situation. Meeting with Shmuel every afternoon begins to make up for having to live in "Out-With." However, after Lietenant Kotler abuses Pavel for dropping a bottle of wine (chapter 13), Bruno wonders why his father did not stop him. Bruno begins to understand that it may be safer to "cause no chaos at all." It is significant that the only thing he can remember about his "old life" and his friends is that one of his friends is a "ginger," a physical characteristic which would not been significant previously but which now seems to be the only relevant and noticeable thing. He is changing in his perceptions of what others consider important and categorizing people on the grounds of their appearance much like the Jews are categorized by the star on their clothing, reveals that he is being influenced by his surroundings. 

Bruno is also becoming less self-absorbed. In chapter 14, when he is talking to Gretel about his "imaginary friend," he begins to realize how difficult it must be for Shmuel whose grandfather is missing. Although Bruno never fully understands the implications of life at "Out-With" he does change and develop due to his experiences. Ultimately, Bruno is a model friend to Shmuel as he supports him during their last moments.  

How does Bruno's character evolve in The Boy in the Striped Pajamas?

At the beginning of the story, Bruno is depicted as a naive, self-centered child, who is upset that his family is moving from Berlin to "Out-With" (Auschwitz). Bruno's concerns are selfish, and he constantly complains about losing his friends and living in a cold, unfamiliar home. Initially, Bruno hates Out-With and is confused by his surroundings.

Bruno is too young and naive to realize that his new home is located nearby the concentration camp where thousands of Jews are worked to death and murdered on a daily basis. As the story progresses, Bruno eventually meets a Jewish boy named Shmuel who lives on the other side of the massive fence. Bruno and Shmuel get along, and he begins visiting his new friend regularly.

As Bruno and Shmuel's friendship develops, Bruno begins to mature and no longer misses his old home in Berlin. Bruno forgets about his old friends and demonstrates compassion by continually bringing Shmuel portions of food. Bruno's ultimate act of selflessness takes place toward the end of the story when he agrees to help find Shmuel's father on the opposite side of the fence. Bruno puts on a prison uniform and sneaks underneath the fence. Bruno then searches in vain throughout the concentration camp for Shmuel's missing father. Tragically, Bruno and Shmuel are herded into a gas chamber and die alongside Jewish prisoners.

Overall, Bruno changes into a selfless, content adolescent, who thinks outside himself and adapts to his new environment. Bruno demonstrates his maturation and moral development by accepting his new life and selflessly helping his close friend Shmuel.

How is Bruno portrayed at the start of The Boy in the Striped Pajamas?

At the beginning of the novel, Bruno is presented as a disgruntled, naive adolescent. He is upset to learn that his family is leaving Berlin, and when he arrives at his new house, he comments on how desolate and cold it is. Bruno misses his old friends and thinks that his family's decision to leave Berlin was a terrible mistake. Bruno displays his childhood innocence by naively referring to the house as Out-With, and he does not understand anything about his new environment. Bruno does not realize the significance of his father's position or various relationships amongst the housemaids, soldiers, and prisoners. He doesn't understand why Maria is afraid to speak her mind, or why Pavel looks so unhappy all of the time. Bruno is continually complaining about his new house and tries to manipulate his family into leaving Auschwitz. He is also presented as a curious individual who is anxious to explore and entertain himself. Bruno even builds himself a tire-swing to try to occupy his time. Bruno is an obedient child but decides to push his limits by walking along the fence at Auschwitz against his father's commands.

How would you describe the character Bruno in The Boy in the Striped Pajamas?

Bruno is depicted as an adventurous, brave nine-year-old boy throughout the novel The Boy In The Striped Pajamas. Bruno openly expresses his displeasure at the beginning of the story when his entire family moves from their beautiful home in Berlin to their new home located on the premises of the Auschwitz concentration camp, where Bruno's father is the acting commandant. Bruno's overarching quality is his naivety. He does not fully comprehend his father's occupation and does not realize that his home is located on the largest Nazi concentration camp. Bruno refers to Auschwitz as "Out-With" and believes that the Jewish prisoners are wearing striped pajamas. He cannot seem to understand the bleak, hopeless nature of the surrounding environment is completely oblivious to the seriousness of everything that is happening around him. Bruno is initially lonely and ends up disobeying his parents' orders by walking along the massive fence that surrounds the concentration camp. Bruno eventually becomes friends with a young Jewish prisoner named Shmuel and the two boys enjoy their close relationship. Bruno also demonstrates compassion by bringing Shmuel food during their visits and he even agrees to help Shmuel find his father, who is "lost" in the concentration camp. Tragically, Bruno and Shmuel lose their lives when they are forced into a gas chamber.

How do the Nazi ideals change Bruno in The Boy in the Striped Pajamas?

From an early age, Bruno has been brainwashed to believe that the Germans are a superior race whose superiority gives them the right to treat so-called "inferiors" however they like. Bruno witnesses this warped attitude firsthand with the abominable treatment of Pavel, his family's Jewish servant.

When Bruno falls from a tire swing and Pavel comes to his aid, he starts to realize that there's something not quite right about what he's been taught. Through his personal interactions with individual Jews, Bruno is able to reach out, albeit tentatively, to those deemed by the Nazi regime to be his racial inferiors. The fact that Bruno is also able to forge a close friendship with a Jewish boy imprisoned at Auschwitz, Shmuel, is a further indication that Nazi ideas of perpetual conflict between supposedly superior and inferior races are completely false.

How is Bruno's attire described in The Boy in the Striped Pajamas?

Bruno's father was a very high ranking official in the Nazi military.  Therefore Bruno must dress in a specific manner appropriate to his station.  He is from Germany, and, as such, must dress in a very disciplined manner.  He wears trousers, shirts, ties, and socks and shoes every day.  Even when he plays, he wears the same outfit.  When Bruno asks Shmuel about why he wears the striped pajamas, Shmuel tells him that they took his other clothes away from him.  He asks Shmuel if he didn't have a desire to wear something else, which is really ironic in that Bruno never wore anything else.

In fact he did like stripes and he felt increasingly fed up that he (Bruno) had to wear trousers and shirts and ties and shoes that were too tight for him when Shmuel and his friends got to wear  striped pajamas all day long. (Pg 151-152)

How does our response to Bruno evolve in The Boy in the Striped Pajamas?

Boyne actually does a fairly neat trick with his characterization of Bruno throughout the novel.  In general, the Holocaust is a subject that reduces all  of us to the role of children.  The questions that are generated by its study are some of the most elemental, questions that a child would ask:  "How could this happen?"  "How could people do this to one another?"  "Is there any justice for those who were victimized?"  "What were children like during the Holocaust?"  "Why didn't anyone help?"  These questions are child- like in nature, but in the context of the Holocaust, they occupy central importance and bring the profound nature of the subject to light.  Since we, as children, are left with confusion and a great many questions, Boyne puts us as a child, and we, in a sense, are Bruno.  We wonder, as he does, about "Out- With" and "The Fury."  We recognize Nazis as bad, and so does he.  He struggles with moral ascendancy in a moment of crisis, and while it  might be easy to criticize him, we recognize that none of us can fully say what we would do in such a situation.  We recognize that his friendship with Shmuel is something that we would try to do, though, and the ending is something that we, reluctantly, recognize.  In experiencing the Holocaust through Bruno's eyes, Boyne takes our own sensibilities as children of the Holocaust and places us in Bruno's shoes with a remarkable convergence in both experiences to fully experience one of the most difficult times in human history.