Critical Analysis: George Bernard Shaw's Arms and the Man

I. Introduction: A "Pleasant" Play with a Potent Purpose

George Bernard Shaw’s 1894 play, Arms and the Man, stands as a pivotal
work in modern drama, serving as a foundational text in his "drama of
ideas". Despite its subtitle, "An Anti-Romantic Comedy," the play’s
designation as a "pleasant" work in his 1898 collection belies its profound
intellectual purpose. The play is not merely a lighthearted farce but a
sharp and often bleak critique of societal hypocrisy, a testament to Shaw's
ability to "sneak subversive ideas... into a romantic romp". At its core, the
work establishes a central conflict between idealistic, romantic notions
and pragmatic, often absurd, realities, a theme that Shaw explores with
surgical precision in both war and love. This intellectual and theatrical
duality—a seemingly lighthearted entertainment with a powerful
underlying social critique—is central to its enduring appeal and its lasting
relevance as a classic of modern theatre.

Shaw’s genius lies in his use of humor and wit to dismantle the Victorian-
era romanticism that glorified war and sentimentalized love. The play’s
seemingly simple plot—a war-weary soldier takes refuge in a young
woman's bedroom—becomes a vehicle for a pointed analysis of the
"illusions people hold about bravery, honor, and relationships". By
contrasting the characters’ lofty ideals with their genuine desires and
actions, Shaw invites the audience to reflect on the true nature of heroism
and the complexities of human relationships. This approach, which blends
satire and social critique, marked a significant departure from the
prevailing theatrical conventions of the time and helped establish Shaw's
reputation as a leading playwright.

II. The Theatre of Ideas: Context and Influence

2.1. The Serbo-Bulgarian War (1885): A Stage for Satire

The historical backdrop of Arms and the Man is the short and relatively
obscure Serbo-Bulgarian War of 1885. This conflict arose from geopolitical
tensions in the Balkans following the Congress of Berlin (1878), when
Serbia, fearing the growing power of its rival, Bulgaria, opposed the
unification of Bulgaria and the semi-autonomous Ottoman province of
Eastern Rumelia. Serbia initiated the war, expecting a swift victory, but
instead suffered a decisive defeat at the Battle of Slivnitsa. The historical
record indicates the Bulgarians won only because the Serbians had the
"wrong-size ammunition," a detail that directly undermines any notion of a
heroic, glorious victory.

Shaw's choice of this "brief and pointless" conflict as a setting is a

deliberate and masterful act of satire. The war provides the perfect ironic
stage for the protagonist, Sergius Saranoff, to perform his amateur,
romanticized heroics. The research reveals that the conflict was known as
"The War of the Captains" because Russia had withdrawn its military
officers, leaving the inexperienced Bulgarian officers in command. This
specific detail demonstrates how a seemingly minor, forgotten war is not
just a backdrop but a central satirical device. The Bulgarian victory,
achieved through pure chance rather than professional skill, makes a
universal statement: the notion of glorious, tactical warfare is often just a
matter of serendipitous incompetence and simple practicality. This reality
is personified by the pragmatic Swiss mercenary, Captain Bluntschli,
whose business-like attitude to war starkly contrasts with the Petkoffs'
romantic views. By rooting his critique in a tangible, historical event, Shaw
anchors his intellectual arguments in a relatable, human experience,
revealing that the absurdity of war is a timeless condition.

2.2. Shaw's Socialist Philosophy and the Dramatization of Class

Shaw, a committed Fabian Socialist, used his plays not just for
entertainment but as a platform to express his political and social beliefs.
Arms and the Man is a prime example, serving as a pointed attack on the
"rigid class system of the day". The play subtly, and sometimes overtly,
argues that the value of an individual should not be determined by
inherited status or material wealth but by their character, merit, and will.

The character of Louka is a key agent in this dramatization of socialist

principles. As a maidservant, she is expected to be subservient, but she
fiercely insists that she does not have the "soul of a servant". Louka's
ambition to elevate her social status by marrying Sergius is not a simple
act of selfish social climbing. Instead, it is a purposeful, revolutionary
rejection of a society that would condemn her to a subservient role
because of her birth. She is a keen observer of human nature and astutely
perceives the hypocrisy behind Raina and Sergius's romantic poses and
their performative "higher love". Her exposure of their deception is her
primary tool for social mobility, demonstrating Shaw’s belief that personal
worth and determination should dictate one’s place in the world. Louka’s
success in winning Sergius and becoming a lady proves that a
"maidservant" can achieve her goals through her own "worth as a human
being and by her strong will power," a fundamentally socialist principle.

2.3. The Shift from Victorian Melodrama to Ibsenite Realism

Arms and the Man represented a significant break from the melodramatic
plays of the late Victorian era, which often glorified military heroism and
sentimentalized human emotions. Shaw, deeply influenced by the
Norwegian playwright Henrik Ibsen, pioneered a new theatrical form: the
"drama of ideas". Ibsen’s work focused on raising awareness of important
social issues and depicting life as it truly was, without the embellishments
of romanticism or idealism. Shaw embraced this approach but infused it
with his distinctive wit and humor, creating a new kind of drama that
could deliver a serious message in a palatable and entertaining format.

The research notes that Shaw’s concepts were initially considered "far too
avant-garde" for audiences of his time. He therefore "crafted it as a highly
theatrical piece using the format of the cliché operettas of the time". This
juxtaposition is the key to the play’s success and its lasting influence. By
packaging his radical ideas about war, love, and class within a comedic
structure that audiences were already comfortable with, Shaw was able to
challenge their perceptions without alienating them. The play’s theatrical
elements, such as the characters’ occasional direct address to the
audience and the performative nature of their lives, further heighten the
audience's awareness of the contrast between authenticity and facade.
This innovative blend of serious, realistic themes with a humorous,
accessible delivery cemented Shaw's place as a revolutionary figure in the
history of theatre.

III. Deconstructing Romanticism: An In-Depth Thematic Analysis

Shaw’s genius in Arms and the Man is best demonstrated through his
systematic deconstruction of two of the most cherished romantic ideals of
the late 19th century: heroism in war and "higher love" in relationships.
He achieves this by establishing a clear thematic dichotomy between
idealism and realism, which is explored across the play’s central conflicts.

Table 1: Thematic Dichotomies in Arms and the Man

| Theme | Idealism (Sergius & Raina) | Realism (Bluntschli & Louka) |

|---|---|---|

| Heroism | A glorious act of bravado, daring, and honor on the battlefield.

| Pragmatic survival, common sense, and professional conduct. |

| Love | A "higher love," platonic and purely spiritual, detached from

physical reality. | A practical, honest, and compatible connection based on
shared interests. |

| War | A noble, heroic, and honorable endeavor. | A chaotic, absurd, and

foolish business for self-preservation. |

| Class | Inherited status, wealth, and material possessions define one's

worth. | Personal merit, wit, and willpower define one's social standing. |

3.1. The Folly of Heroism: From Byronic Pose to Pragmatic Survival

The play’s central critique of war is an assault on the notion of heroism.
This is most clearly illustrated by the contrast between Major Sergius
Saranoff and Captain Bluntschli. Sergius embodies the archetypal
romantic hero: he is a "dashing war hero" who leads a "victorious cavalry
charge" with "flashing eyes and lovely moustache". However, Bluntschli, a
professional soldier, reveals that this charge was not an act of skill but of
sheer luck, describing Sergius as a "romantic fool" who won by doing "the
professionally wrong thing". Bluntschli, the voice of realism, operates with
a clear, anti-heroic pragmatism. He admits that he is afraid of death and
carries food, not ammunition, into battle, a choice that earns him the
ironic nickname "the chocolate-cream soldier". This choice is a powerful
symbol of Shaw's pacifist stance, asserting that a soldier's primary duty is
self-preservation and that true heroism lies not in bravado but in "common
sense".

3.2. Love as a Transaction: The "Higher Love" as a Fatiguing Farce

Shaw’s anti-romantic view of love is a central theme, exemplified by the

farcical relationship between Raina and Sergius. Their "higher love" is a
performance based on social expectation and playing a role rather than on
genuine affection. Raina herself admits that this idealized love is a "very
fatiguing thing to keep up for any length of time". This manufactured
relationship stands in stark contrast to the genuine connection that
develops between Raina and Bluntschli. Their love is not built on a
foundation of grand gestures or heroic acts but on honesty and "practical
compatibility". Bluntschli sees through Raina's pretense and challenges
her to be her authentic self, an experience that leads her to realize the
"superficiality of her previous beliefs". The eventual pairing of Raina and
Bluntschli suggests a more realistic and grounded approach to
relationships, where honesty and mutual understanding are valued over
societal expectations and illusions.

3.3. Class and Social Mobility: Subverting the Aristocratic Masquerade

Shaw’s Fabian socialist beliefs are woven into the play’s critique of social
class. The Petkoff family, despite their aristocratic pretensions, are
depicted as shallow and foolish. Their pride in their library and electric bell
is a satirical device that mocks the idea that wealth and material
possessions confer inherent superiority. These objects, along with Raina’s
novels, serve as props in the Petkoffs’ "social performance," highlighting
their preoccupation with appearances over substance. The play’s
resolution, where Bluntschli is revealed to be a wealthy hotel owner and
Louka successfully marries Sergius, exposes the arbitrary and "foolish"
nature of class divisions. This conclusion demonstrates that personal
worth and will, not inherited status, should determine one’s place in
society.

IV. Character Evolution and the Human Condition

Shaw masterfully uses his characters not just as participants in a plot but
as vehicles for his central ideas. The play is an "education" for its
audience, with the characters' development serving as a direct illustration
of Shaw's arguments.

Table 2: Character Archetypes and Development

| Character | Initial Persona/Beliefs | Final State/Revelation |

|---|---|---|

| Raina Petkoff | A romantic lady who believes in "higher love" and glorious
war. | A realist who learns honesty and finds a more grounded, authentic
love. |

| Captain Bluntschli | A pragmatic "chocolate cream soldier" who is a

professional realist. | A consistent pragmatist, revealed to be a wealthy
man who is also capable of romantic affection. |

| Major Sergius Saranoff | A "Byronic Hero" who believes in honor and

"noble" actions. | A disillusioned cynic who sees life as a "farce" but finds
a partner in Louka. |

| Louka | A defiant servant who rejects her subservient station. | An

ambitious and triumphant woman who uses her wit to marry into nobility. |

4.1. The "Education" of Raina Petkoff

Raina’s journey from a "sentimental" romantic to a "matured woman" is

the central arc of the play. Her initial worship of Sergius as "My hero!" is a
direct manifestation of her romantic ideals, which are based on her
superficial reading of poets like Byron and Pushkin. The research shows
that her idealized worldviews "fall apart" as the play progresses,
culminating in her admission of her own lies and inauthentic behavior to
Bluntschli. Her final union with the pragmatic Bluntschli symbolizes a
profound shift from a life of illusion and performance to one of honesty
and authenticity, a "grounded" approach to life and love.

4.2. Captain Bluntschli: The Anti-Hero as Shaw's Mouthpiece

Captain Bluntschli serves as Shaw’s primary instrument of anti-

romanticism. He is introduced as a man who values common sense over
glory and honesty over pretense. His name itself is "deliberately chosen"
to signal his "blunt" and honest nature, a stark contrast to the romantic
posturing of the other characters. He embodies the ultimate pragmatist
who defies Raina’s expectations by being a "chocolate cream soldier" who
admits he is afraid of death and carries food, not ammunition.

A closer look at Bluntschli’s character, however, reveals a surprising

depth. He is not merely a symbol of cold, cynical practicality. The research
notes that he is an "enchanted soul whom nothing will disenchant," a
paradox that makes him truly unique. This description suggests that
Bluntschli is a man of clear-eyed vision who sees the world as it is, without
the need for illusions. His ability to be "touched" by Raina's kindness and
to declare his affection for her demonstrates that practicality and romance
are not mutually exclusive. He is a more complex and compelling figure
than a mere symbol of realism, representing the possibility of an
authentic, honest love in a world of illusion. Bluntschli can therefore be
seen as a proto-superman, a prototype for Shaw's later, more fully
developed characters who represent an evolved form of humanity. He is
not a cynic, but a man who finds genuine joy and meaning by facing the
world directly, without a mask of pretense.

4.3. Major Sergius Saranoff: The Romantic Masquerade

Major Sergius Saranoff is presented as a "Byronic hero" who deliberately

cultivates a romantic pose but struggles to live up to it. He is a man of
profound internal contradictions, swinging between lofty, idealistic
declarations of "higher love" for Raina and his secret, more physical
flirtations with Louka. This duplicity reveals the inherent hypocrisy of the
romantic ideal. Sergius's moment of self-awareness comes when he
condemns the army for its lack of honor and declares that "Life is a farce".
He is a man who cannot sustain the impossible ideals he pretends to live
by, and his disillusionment with a world that fails to match his
expectations becomes a central part of his character.

4.4. Louka's Rebellion: The Triumph of Will

Louka’s character acts as a pragmatic foil to Raina’s romanticism. She is a

"strong willed woman" who uses her "brain, wit, resourcefulness and her
physical charms" to rise above her subservient station. She is not afraid to
challenge the aristocratic pretensions of the Petkoffs and to assert her
own worth. Louka embodies a more direct and assertive pragmatism in
love and life than even Bluntschli. She is a true opportunist, a keen
observer of human nature who uses her knowledge of Sergius's
vulnerabilities to achieve her ambitious goal of marrying into nobility. Her
triumph is a powerful statement about the triumph of personal will over
societal constraints.

V. Shaw's Rhetorical Toolkit

5.1. The Irony of the Title: An Epic Subversion

The title, Arms and the Man, is a central ironic device in the play. It is a
direct quote from the opening line of Virgil’s epic poem, The Aeneid, which
begins, “Of arms and the man I sing”. While Virgil’s work glorifies heroic
deeds and military conquests, Shaw’s play "reverses this idea" by
ridiculing the romantic notions of war. The title sets up an expectation of a
grand, heroic narrative, only to subvert it with a farcical tale of a soldier
who carries chocolates and a hero who wins by chance. This intellectual
play on classical literature is a prime example of Shaw's wit and his intent
to challenge preconceived notions from the very beginning.

5.2. Satire as a Moral Weapon

Shaw’s most potent rhetorical tool is satire, which he wields to expose the
"absurdity of glorifying something as horrific as war". Through witty
dialogue and humor, he makes his serious social commentary accessible
and engaging for the audience. The satire is directed at the characters'
romantic misconceptions, from Sergius's foolish charge to the Petkoffs'
obsession with their social status. By making his characters ridiculous,
Shaw encourages the audience to laugh at the very ideals they
themselves might hold, thereby delivering his moral message in an
entertaining way.

5.3. Symbolism of the Everyday

Shaw uses a number of everyday objects as powerful symbols to reinforce

the play’s themes:

* Chocolate Creams: Bluntschli's choice to carry chocolate instead of

ammunition is the most famous symbol in the play. It represents his
pragmatic nature and directly contrasts with the violent nature of war,
acting as a clear statement of Shaw's anti-violence stance.

* The Library and Electric Bell: These objects are symbols of the Petkoff
family’s shallow class pretensions. Their pride in these possessions
highlights their desire to appear cultured and wealthy, satirizing the idea
that material goods confer inherent superiority.

* Major Petkoff’s Coat: The coat, which Bluntschli borrows and returns,
becomes a literal and figurative symbol of the various deceptions and
secrets that unfold in the play. The inscribed picture of Raina that is
hidden in its pocket represents the secrets the characters are keeping
from each other.

* Raina’s Novels: Raina is often seen clutching a romantic novel, which

serves as a prop that signals her social performance and shallowness. She
uses the books to maintain her dramatic facade of a romantic heroine,
rather than for actual reading.
VI. Conclusion: Legacy and Timeless Relevance

Arms and the Man was a commercial success for Shaw and was one of his
first works to debut in North America. However, its initial critical reception
was divided, with some audiences critical of Shaw's anti-romantic views.
Shaw famously responded to a booing audience member with the witty
retort, "I assure the gentleman in the gallery that he and I are of exactly
the same opinion, but what can we do against a whole house who are of
the contrary opinion?". The play’s legacy was cemented by its subsequent
publication and its continued popularity over the years, including the
highly successful operetta adaptation, The Chocolate Soldier, which
outgrossed the original play despite Shaw's disdain for it.

Ultimately, Arms and the Man endures as a timeless work because its core
themes transcend its historical context. The play's critique of the folly of
war, the superficiality of social class, and the nature of authentic love
remain relevant to contemporary discussions. Shaw's central message—
the courage to face oneself without illusion, to discard the "mask we all
inevitably create as a protection"—is a universal human challenge. By
demonstrating that true happiness and connection can only be found
when we embrace reality over a manufactured, idealized existence, Arms
and the Man affirms its place as a classic of modern drama.