Arms And The Man Questions And Answers Pdf
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Thanx alot for such a great help. Arms and the Man is one of best plays of Bernard Shaw. It was performed for the first time in London in the year
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Arms and the Man
Arms and the Man. Plot Summary. Act 1 Act 2 Act 3. Realism Class Divisions Youth vs. Maturity Heroism. LitCharts Teacher Editions. Teach your students to analyze literature like LitCharts does. Detailed explanations, analysis, and citation info for every important quote on LitCharts. The original text plus a side-by-side modern translation of every Shakespeare play.
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Themes All Themes. Symbols All Symbols. Theme Wheel. Everything you need for every book you read. The way the content is organized and presented is seamlessly smooth, innovative, and comprehensive. LitCharts assigns a color and icon to each theme in Arms and the Man , which you can use to track the themes throughout the work. The curtain opens on a bedroom, in a small town in Bulgaria in The setting alone suggests a conflict of identity and class division—the room is split between sensible and lavish, paltry and rich, Bulgarian and Viennese.
Active Themes. Identity, Authenticity, and Self-Expression. On the balcony there is a beautiful lady Raina , who looks out into the sky as though she is appreciating its beauty, and as though she knows her own youth and beauty contribute to the magical quality of the night.
She is decorated in expensive furs, which are worth approximately three times what the furniture in the room is worth. The expensive furs she is draped in continue to highlight the fact that this is a household that is not only wealthy, but strives to be perceived as wealthy—perhaps these characters want to seem even wealthier than they are.
Catherine certainly seems to care about appearing high-class, dressing in Viennese fashions though she is Bulgarian. Related Quotes with Explanations. Catherine tells Raina there has been a battle, and Raina is visibly excited. When Catherine says the battle has been won by Sergius , Raina is ecstatic. We discover that she is elated by the prospect of Sergius winning a battle.
Already we can see that she is in the habit of reducing herself and others to their accomplishments, their ability to appear a certain way.
She begs her mother not to tell Sergius that she ever doubted him, but her mother refuses to make such a promise. Raina explains again that she simply worried their ideas were born of their love for the writings of Byron and Pushkin, and whether these ideas could hold up in real life. But, she assured her mother, she is convinced now. She knows she is idealistic and romantic, even acknowledging that her view of the world is based on the romantic writing of Byron and Pushkin. Raina dismisses her worries as the result of cowardice, and affirms that Sergius is as splendid and noble as he looks.
Louka interrupts them, a young and pretty servant girl who is clearly defiant, and whose demeanor seems almost insolent. She also looks excited, but not in the rapturous way of Catherine and Raina , and she is clearly contemptuous of their romantic demeanors.
She tells them that there will soon be gunfire in the streets, as the Servian army is retreating. She advises that all of the doors and windows of the house should be locked.
Though she is a servant, she clearly disdains servant work, and her lack of reverence for upper class citizens is obvious from the start. The War that Raina has been distantly romanticizing will soon be in her backyard. Raina expresses her sadness that the Bulgarians, her people, are cruelly slaughtering fugitives, and wonders what the point of such an exercise might be.
Catherine ignores her and in a businesslike manner goes to make everything safe downstairs, insisting that Raina keep her shutters locked. The interaction with Louka is also revealing: Raina believes it is fine if she contemplates disregarding her mothers wish and leaving the windows unlocked, but chides Louka for the exact same line of thinking. Louka perceives this inequality and leaves.
My hero! But reality intrudes once again, in the form of gunshots. The man lights a match and Raina demands to know who is there. He threateningly warns her not to call out if she wants to remain unharmed. Raina lights a candle and sees that the man is in a horrible state, ragged, thin and unkempt. Yet he appears to still have all his wits about him.
He points out his Servian uniform and tells Raina that if he is caught he will be killed. When he tries to impress upon her that he is Servian, and that his life is at stake, she clearly begrudges him his desire to live, as though a true soldier would not fear death. This extreme idealism when put up against the un-heroic realism of the soldier has a comedic effect onstage because Raina seems ridiculous and this kind of humor will persist throughout the play.
The man grimly but in a good-natured way tells her that all soldiers are afraid of death. He warns her against raising an alarm, but she indignantly asks him why he imagines she is afraid of death. He grants her that she might not fear death, but that she would certainly fear being seen by a bunch of cavalry men in her nightgown, and snatches her cloak from the nearby ottoman, exclaiming that her cloak is a better bargaining tool than his rifle.
This man sizes Raina up immediately—he correctly assumes that she is the kind of person who would fear social disgrace more than death. Raina scornfully tells him he is not behaving like a gentlemen.
Giving up, the man kindly throws Raina her cloak, and his intimidating manner gives way to a weakened and fearful one. He tells Raina he is done for and that she should look away, for it will not take long. Raina, touched by his compassion, hides him in the curtains. The man tells her that if she keeps her head he might have a chance, because nine soldiers out of ten are born fools. When a knock arrives, he relents, but in so doing acts even more unlike a soldier—he shies away in fear, and seems weak and vulnerable.
We would expect that Raina would be even more offended at this violation, but instead she feels compassion for him, and helps him—her character is more complex than it seems, though there is a sense also that she wishes to be heroic.
Raina insists she heard nothing. Catherine calls a Russian officer into the room, and Raina stands in front of the curtain as he searches the balcony. Louka remains. Raina tells Louka to keep her mother company. Louka looks at the ottoman, then the curtain, then exits, laughing to herself.
Raina, offended, slams the door after her in a huff. The man emerges from his hiding place, expresses his undying gratitude to Raina and explains that he is Swiss, a professional soldier, and that he bears no allegiance to the Servians.
He begs Raina to let him sit a minute longer before he must go back out into danger. She gasps, points to the ottoman and notices his revolver has been lying out in the open this whole time. Her gasp scared him, and she sarcastically suggests he take his revolver to protect himself from her. He explains the gun is not loaded—he carries sweets instead of ammunition. Raina is outraged at this.
The man further breaks down idealistic conceptions of war by revealing he has no allegiance to either side. This is selfish, indulgent, and weak and also kind of practical in that he carries what actually brings him pleasure —a kind of trifecta of anti-heroic traits, and the idealistic Raina is predictably outraged.
The man wishes he had some chocolates now, and Raina goes to her drawers and scornfully thrusts a box of chocolate creams his way. He is exorbitantly grateful, and explains that all old soldiers carry food while the young ones carry ammunition. Raina contemptuously says that even though she is a woman she is probably braver than him, and the man says this is true, but only because Raina has not been under fire for three days.
He then tells Raina that if she should scold him too much, he will start to cry. Though he has just violated her ideal of manhood, Raina gives the man chocolate creams. Though her disposition suggests a kind of huffy outrage, her actions betray her complexities, her compassion, and her willingness to accept this man despite his eccentricities and flaws.
Raina is moved by this vulnerability, and apologizes. She then draws herself up and says that Bulgarian soldiers are not like him. He then remarks that is ludicrous that Bulgarians have managed to beat them, but notes that their victory was basically accidental. Raina collects herself and, in a more typical, patriotic fashion, asserts that no Bulgarian soldiers are like this man for they must be more heroic. This brings direct attention to the difference between youth and maturity, which has already been implicitly highlighted earlier.
Raina skeptically demands that he explain himself, and he describes a cavalry charge, led by a handsome young man who was immensely brave.
Arms and the Man - Long Answer - Questions
Sergius says about Bluntschli, What a man! Is he a man! How far is Anns and the Man a satire on romantic notions of war and love? Explain the aptness of the title and the sub-title of the play, Anns and the Man. Compare and contrast the ch ara cter of Bluntschli with that of Sergius. Discuss the character and role of Catherine Petkoff in the play.
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Answer the following questions. The title of the play, "Arms and the Man", has been taken from Dryden's translation of the opening lines of "Aenied" by Roman poet, Virgil. Victorian rule - , Victorian literature and Serbo-Bulgarian War 14 November - 28 November is the historical background of the play "Arms and the Man". Love, war, imcompetent authority, ingorance vs. There are two distinct conflicts in the play.
1. How are women portrayed in the play? · 2. What older work does the title Arms and the Man reference? · 3. Discuss the different conceptions of.
Arms and the Man
Arms and the Man. Plot Summary. Act 1 Act 2 Act 3. Realism Class Divisions Youth vs. Maturity Heroism.
Some four months have passed since the first act, and a peace treaty has just been signed. The setting for this act is in Major Petkoff's garden. Louka is standing onstage in a disrespectful attitude, smoking a cigarette and talking to Nicola, a middle-aged servant who has "the complacency of the servant who values himself on his rank in servitude.
Sergius says about Bluntschli, What a man!
Arms and the Man Essay Questions
Both Raina and Catherine are often presented as frivolous or foolish, particularly when exhibiting class pretentions. Yet Shaw makes Sergius and Major Petkoff just as - if not more - ridiculous. Multiple times throughout the play, women are shown to be powerful: Raina and Louka using their wit to control the men around them; Catherine shepherding the bumbling Petkoff through life; Louka successfully pushing Sergius into marrying her.
The Reality of War. The play opens with a romantic view of war held by the Bulgarians, especially the young Raina and Sergius. They will learn from experience and their lessons from Bluntschli that war is not glorious.
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Raina is one of Shaw's most delightful heroines from his early plays. In the opening scenes of the play, she is presented as being a romantically idealistic person in love with the noble ideal of war and love; yet, she is also aware that she is playing a game, that she is a poseuse who enjoys making dramatic entrances her mother is aware that Raina listens at doors in order to know when to make an effective entrance , and she is very quixotic in her views on love and war. Whenever Raina strikes a pose, she is fully aware "of the fact that her own youth and beauty are part of it.
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Arms and the Man was one of Shaw's first commercial successes. He was called onto stage after the curtain, where he received enthusiastic applause. Amidst the cheers, one audience member booed.
Does he believe these exist? Why or why not? Throughout the play, Shaw demonstrates that concepts like good versus bad, or courage versus cowardliness, have at least as much to do with the situations in which one finds oneself as they do with the innate qualities of that person. He is a man who makes his decisions based on the circumstances in which he finds himself.
Серые глаза светились уверенностью, с которой сочеталась профессиональная скрытность, но сегодня в них проглядывали беспокойство и нерешительность. - У вас испуганный вид, - сказала Сьюзан. - Настали не лучшие времена, - вздохнул Стратмор. Не сомневаюсь, - подумала .