sion by revealing the absurdity of the charge: Sergius led a cavalry charge against heavy machine guns. This charge was foolish and only succeeded because the enemy had the wrong ammunition.

Again, Bluntschli shatters the romantic ideals of patriotism and heroism by revealing that he is just a professional soldier. He says:

“I am a Swiss, fighting merely as a professional soldier. I joined Servia because it came first on the road from Switzerland.”

Shaw uses Bluntschli to show that war is less about noble acts of bravery and more about staying alive.

“Raina: Some soldiers, I know, are afraid of death.

The Man (Bluntschli): All of them, dear lady, all of them, believe me. It is our duty to live as long as we can.”

Soldiers are not necessarily heroic. Bluntschli reveals:

"Nine soldiers out of ten are born fools”

Sergius—A Ridiculous Figure: At the beginning, Sergius seems to embody the romantic ideal of a war hero, a brave man. However, gradually he is revealed as a ridiculous figure. Shaw mocks the idea of heroism in war through Sergius’s remark,

"Soldiering ... is the coward's art of attacking mercilessly when you are strong, and keeping out of harm's way when you are weak" (Act 2).

This remark exposes the hypocrisy and futility of war: soldiers fight when they have the advantage and avoid conflict when they are vulnerable.

Critique of Love and Marriage: In the beginning, Raina and Sergius represent the ideal of romantic love. Raina believes she is deeply in love with Sergius. She calls him her “soul’s hero.” Both act as if their love is perfect. Sergius also plays the role of the noble lover. He refers to Raina as his “queen.” Raina declares in Act 2:

“I think we two have found the higher love.”

However, their love is based on unrealistic ideals rather than genuine feelings. As the play unfolds, it becomes clear that Raina and Sergius are pretending. Raina gradually develops a relationship with Bluntschli, drawn to his personality and practical views. On the other hand, Sergius is drawn to Louka’s beauty.

Real Love in the Play: Bluntschli offers a different view of love. He values honesty and simplicity. In contrast to Sergius, Bluntschli’s interactions with Raina are genuine and free from pretension. By the end of the play, Raina realizes that she feels more comfortable with Bluntschli, who loves her for who she is.

Critique of Social Class: Shaw uses the character of Louka to challenge class divisions. Louka, a servant, refuses to accept her lower status. She boldly questions the idea that people should be judged based on their birth or wealth. She scolds Nicola, the servant of the Petkoff house, in the following manner:

“You have the soul of a servant, Nicola.”

To wrap up, as a problem play, “Arms and the Man” raises questions about the popular ideals of love, marriage, war, and social class. Shaw’s ability to address serious issues while keeping the audience entertained makes it a successful problem play.