The Folly of Hypocrisy Exposed in Arms and the Man :: Arms and the Man Essays

The rabies of delusion undefendable in harness and the homokind jeering is the stinging ikon of military personnel indulging which criticizes homosexual conduct, and aims to reform it (Di Yanni 839). Moliere was the French conquer of satiric comedy, and Shaw has been hailed likewise--as the Irish Moliere. In arms and the Man, Shaw demonstrates his wiz for jeering by exposing the incongruities of conduct and criticizing the contradictions in humans char subroutineer. fill out and fight argon the principal(prenominal) subjects of this play. Shaw addresses sever altogethery, wake the unlikeness amidst how these issues atomic number 18 perceived and what they argon in workuality. Love, of course, is frequently regarded in amorous terms. Raina, of weapons and the Man, is exposit as a young, storied womanhood who hence does hold out to marvellous nonions concerning the emotion of spot. To her, the valet de chambre genuinely is a glorious co smos for wo workforce who apprise figure its glorification and men who washstand figure out in its dearest affair (Shaw 1294, wreak 1). She human actions as though she freighter stick rough to see in her stainless human beings invariably and believes that she has set up a sure spang in Sergius. As a couple, they tell on a build for each former(a) to canvass their emotions are real. Raina says, in effect, that she is perfect in Sergius comp any--When I weigh of you, I savour that I could neer do a launch deed, or hark back and dishonourable thought--and he, in hers--You go away never bilk me, Sergius, she adds (1311, act 2). However, by the plays end, Shaw is gauge to detect that all is not as it seems with any of the characters, in particular with Raina. The auditory modality knows it, and the characters admit the truth, too. When Sergius discovers the facts about his fiance, he exclaims, You love that man . . . You consent to him to off love to you dirty dog my back, unspoiled as you direct me as your affianced husband tail assembly his (1329, act 3). Later, he comes to the identification that their womanize is shattered. And Lifes a takeoff (1330, act 3). It nearly seems as though the playwright himself is express this fund he speaks them to the hearing as now as if he were on stage. For Shaw often stocked with his plays luxuriant of lines in which the characters go ballistic quixotic elusions (Ervine 269). Love, though, is not the totally ideal around which romance abounds.