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

The Folly of Hypocrisy Exposed in Arms and the Man irony is the biting exposure of human folly which criticizes human conduct, and aims to correct it (Di Yanni 839). Moliere was the cut master of satiric comedy, and Shaw has been hailed likewise--as the Irish Moliere. In Arms and the Man, Shaw demonstrates his genius for irony by exposing the incongruities of life and criticizing the contradictions in human char answerer. Love and war atomic number 18 the main subjects of this play. Shaw addresses individually, showing the disparity between how these issues argon perceived and what they are in actuality. Love, of course, is often regarded in romantic terms. Raina, of Arms and the Man, is described as a young, beautiful woman who indeed does hold to standardistic notions concerning the sensation of love. To her, the world really is a glorious world for women who can figure its glory and men who can act in its romance (Shaw 1294, act 1). She acts as though she can continue t o live in her ideal world forever and believes that she has found a true love in Sergius. As a couple, they put on a show for each other to prove their emotions are real. Raina says, in effect, that she is perfect in Sergius company--When I think of you, I feel that I could neer do a base deed, or think and ignoble thought--and he, in hers--You will never disappoint me, Sergius, she adds (1311, act 2). However, by the plays end, Shaw is eager to reveal that all is not as it seems with any of the characters, especially with Raina. The audience knows it, and the characters learn the truth, too. When Sergius discovers the facts about his fiance, he exclaims, You love that man . . . You allow him to make love to you behind my back, reasonable as you treat me as your affianced husband behind his (1329, act 3). Later, he comes to the realization that their romance is shattered. And Lifes a farce (1330, act 3). It almost seems as though the playwright himself is saying this line he spe aks them to the audience as directly as if he were on stage. For Shaw often stocked his plays rise of lines in which the characters explode romantic elusions (Ervine 269). Love, though, is not the only concept virtually which romanticism abounds.