Bernard Shaw calls "Arms and the Man" an anti-romantic comedy. The major goal of the dramatist is to satirize the romantic conception of life. Shaw has no faith in emotion and sentiment. All through the drama he denounces the idealism and insists on realism. He does it via humor of character and humor of circumstance at the very same time.
The play "Arms and the Man" is not a farce, a correct comedy. The objective of a comedy is to ridicule and expose some humor or social weakness or flaw. It laughter at human weakness or flaw, but the goal of the laughter is to drive the flaw. Even though there are a lot of farcical, loud, laughter in the play, but it has a critical goal and this way it tends to make a distinction from a farce. Shaw, this way a comedian but with a severe goal. He rouses mirth but he too rouses believed.
In "Arms and the Man" the dramatist's intentions are comic and the use of anti-climax is the tool by way of which he achieves his comic intention. Sergius and Raina turn out to be comic figures as the insincerity of their romantic adore and their romantic attitude is exposed. Raina and Sergius come down to the level of Louka and Bluntschli. The dramatist has succeeded in his comic intention. He shows that it is not heroic but some thing horrible and brutal simply because soldiers are not heroes but fools and cowards who fight only due to the fact they are compiled to fight. Sergius's heroic victory seems in a comic light although it is found that he may possibly win only since the Serbian gunmen had the incorrect ammunition with them. Sergius tends to make enjoy to Louka as quickly as Raina's back is turned, quickly following "the greater really like scene". This way Shaw has shown the flaw of romantic ideals of like and war, his goal in writing the play. He has offered a quantity of enjoyable and humor for his readers and audience, but exact same time he has too accomplished his really serious goal.
Shaw wanted technical novelty for the contemporary drama which consists in creating the spectators themselves the people of the drama and the incidents of their lives its incidents, the disuse of the old stage tricks by which audiences had to be induced to take an interest in unreal individuals and improbable situations. He thinks that Shakespeare has place us on the stage but not our issues. Shaw believes that the principal peculiarity of contemporary art is the discussion of social troubles. Shaw points that Shakespearean drama is an inferior specimen of art for the reason that it is romantic in its scenario, traditional in its tips, and pessimistic in its temper. Shakespeare normally borrows the plots of the dramas from other individuals. These stories are largely romantic and superb, and introduce all sorts of extravagant incidents and circumstances. Shaw objects not only to the romantic sentiments in Shakespeare's drama but as well to the romantic circumstances to be discovered there. But he confuses actual romances and its sensational counterpart. As a matter of truth, Shakespeare chooses the extraordinary incidents in order that he may possibly be able to portray the deepest passions. In the higher dramas of Shakespeare there is no extraordinary predicament which is unrelated to human feelings. The circumstances may well be extraordinary but they are created real by the genuineness of passions that have been struck.
In Shakespeare's dramas there are no heroes according to the requirements of Shaw. His lovers are not self-acting. He is forced to borrow motives from the far more strenuous actions of his personages who come from widespread stock pit of melodramatic plot.
Shakespearean dramas are primarily based on a view of life and art fundamentally diverse from Shaw's. Shaw's philosophy of life has no connection with the existence of art in human nature. He thinks that the seriously undesirable man is as uncommon as a definitely very good man and to him life is, despite poverty, illness and misfortune, a enormous game or show even though Shakespeare considers evil as an important element in prevalent human nature.
Shaw insist that "A dramatist's business is to make reader overlook the stage and the actor overlook the audience, not remind them of each at every single time".....His plays have commonly pretty slender plots, the artistic interest becoming denied additional from the exhibition of character by way of startling predicament than from the weaving of a complicated story.
Shakespeare's genius is so unique in nearly every single way from Shaw's that regardless of Shaw's traditional pretense of despising Shakespeare's intelligence any comparison in between them is idle foolishness. Most of Shakespeare's great characters are creatures of passion- really like, hate, jealousy, greed of energy and the truth of the characters, combined with the marvelous energy and beauty of the language in which they reveal themselves, carries reader and spectator away by conquering his imagination. Shakespeare is supreme in the realm of poetic drama; Shaw's greatest gifts are not in the sphere of poetry but in the field of wit, of concepts, of flashing intelligence. He neither can nor desires to imitate Shakespeare as a creator of character, since he is too deeply concerned with his own issue.
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