Samarkand state institute of foreign languages faculty of english philology and translation studies the chair of translation theory and practise

Arms and the Man: In 1894, two years after finishing his initial production, Shaw penned the book "Arms and the Man". Although not as profound or intricate as later plays, Shaw uses humor as a tool for improvement. This differs from Moliere, who, as Louis Crompton has pointed out, uses it to humiliate the audience and force them to conform.
The year is 1885. Bulgaria and Serbia are at war, and the Serbs have just suffered a loss. The play begins with Captain Bluntschli, one of the Serbian officers, escaping from a Bulgarian house through a window. The house belongs to Major Petkoff, and Raina Petkoff dreams of her lover, Sergius Saranoff, the romantic hero who led the cavalry that defeated the Serbs. Bluntschli enters her room with a gun, but convinces her not to scream because she is not appropriately dressed, and it will lead to a fight.
Bluntschli is the opposite of Saranoff. He is a practical Swiss who joined the Serbs simply because they were the first to hire him, not because he believed in either side. When Bulgarian soldiers come to search Raina's room, she frantically hides Bluntschli. After they leave, he tells Raina about a recent battle in which a foolish commander led the frightened cavalry against a battery of machine guns. Everyone was trying to control their horses so they wouldn't be killed. However, the Serbs lacked the proper ammunition, and the Bulgarians' massacre resulted in the Serbs' defeat. Nevertheless, it is clear that the "Don Quixote" commander will be honored by the Bulgarians for his reckless stupidity. When Raina shows Bluntschli a picture of her lover, and Saranoff turns out to be the "Quixote" commander, Bluntschli is mortified. He tries to think that Saranoff may have predicted the Serbian ammunition problem, but he only makes matters worse. He suggests to the romantic girl that her lover would be too arrogant and cowardly to attack under such circumstances [11, 4-7].
This is Shaw's initial derision of chivalrous concepts of warfare. This perception is reinforced in Saranoff's following act, as he returns disenchanted for not being promoted. He failed to adhere to the scientific principles of war and therefore was deemed unworthy. Saranoff discovered that soldiering is the craven art of mercilessly attacking when strong and evading harm when weak.
Finally, in Episode 3, after Bluntschli returns wearing a coat, Saranoff challenges Bluntschli to a duel, discovering that Raina and her mother are the women who rescued the Swiss. However, Bluntschli does not reciprocate the romantic pose and calls Saranoff a dullard for failing to realize that Raina had no choice at gunpoint. Saranoff recoils, realizing that there is no romance in battling this mundane shopkeeper. Bluntschli wins Raina's hand, Saranoff wins Louka, and all ends happily. While the audience may anticipate the play to use its romantic, well-crafted plot to critique romanticism, Shaw once again changes course by portraying his anti-hero, Bluntschli, as a romantic. To everyone's surprise, particularly Saranoff's, Bluntschli claims that most of his troubles stem from an incurable love affair: he fled home twice as a child, joined the army instead of his father's profession, climbed onto a balcony. Instead of sensibly diving into the nearest cellar, Petkoff returned to his residence when any man of his age would have sent for the young girl Raina's coat. Thus, Shaw employs the gun and the man not only to assail the romanticism of war or love but also to underscore the significance of knowing and being true to oneself [11, 4-7].
Only an individual who is sincere with themselves and does not deceive themselves can align themselves with the Life Force and aid in the advancement of the evolutionary process. Despite leaving the military, Saranoff changed professions because he felt he was not adequately recognized for his efforts in the cavalry. He persists in his habitual self-deception. Even his marriage to the servant girl Luca has a sentimental facade; it is repulsive. Raina's marriage to Bluntschli has more potential; at the very least, he came to see her portrait.
Though it may seem insignificant compared to later, more intricate triumphs, Shaw's "spiritual" objective can be observed early on in his career. This is more effectively argued in Man and Superman, and more comprehensively in Return to Methuselah, but the failure of the latter, more idealistic work implies that Shaw's religious concepts were rooted in social, political, or economic critique. Ilsa fascinated his audience the most, as in the Arms and the Man of his era.