Arms and The Man by G. B Shaw - Bengali Summary & Themes

Mofizur Rahman

Arms and The Man by G. B Shaw Bengali Summary & Themes

Honours 2nd Year
Subject: Introduction to Drama
Arms and The Man Written by by George Bernard Shaw
Bangla summary & and English Summary
Themes & Character Discussions
Summary, Characters and Themes of Arms and The Man by George Bernard Shaw, Bangla Summary, Disillusionment of war, Class distinctions, Romanticism

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Arms and The Man

Character lists:

Raina:

Raina is the protagonist and heroine of the play. She is a young woman living in the provinces in Bulgaria, and born into the wealthy Petkoff family. Through Raina's character, the author shatters romantic notion about love and romance.

Bluntschli:

Bluntschli is the hero of the book. Raina calls him “the chocolate cream soldier.” He is skilled in warfare and emotionally sophisticated. Bluntschli hides in Raina’s room in order to save his life from the Bulgarian soldiers. At the end of the plah, he engages to Raina and leads ultimately a happy life.  

Major Sergius Saranoff:

Raina’s betrothed and the hero of the Battle of Slivnitza. Sergius, by his own and many others’ admission, has no military skill. Sergius flirts with the Petkoffs’ servant Louka, and the play ends in their engagement. 

Catherine Petkoff:

Raina’s mother, and matriarch of the Petkoff household. Catherine wants to marry off her daughter to as wealthy and prominent a man as possible. When Sergius appears to be this man, Catherine approves of the union. Catherine is focused on making sure the Petkoffs’ are up-to-date in their home furnishings and technology.

Louka:

The Petkoffs’ female servant. Louka is engaged to Nicola, the head male servant. She has a flirtatious relationship with Sergius, who engaged to Raina. Louka wants to better her social life by marrying a nobleman, and so she criticizes Nicola for having no aspirations over those of a common servant.

Major Paul Petkoff:

Head of the Petkoff family, and Raina’s father. He is always concerned mostly with maintaining his family’s social position in the rural parts of Bulgaria. He and Catherine are willing to accept Bluntschli as Raina’s suitor. 

Nicola:

Head male servant of the Petkoff estate. Nicola initially reprimands Louka for her willingness to leverage information she’s heard as gossip against the Petkoffs. Louka feels that Nicola is not ambitious enough because he is content to be a servant for the rest of his life. Nicola ends the play by breaking his engagement amicably with Louka, allowing her to be engaged to Sergius.

Theme:

  • Disillusionment of war.
  • The complexity of romantic love.
  • Romanticism vs. Realism.
  • Class distinctions.


āĻŦাংāϞা āϏাāĻŽাāϰী āĻŦা āϏাāϰাংāĻļ  (Bengali Summary)

āϰা⧟āύা āύাāĻŽে āĻāĻ• āĻŦুāϞāĻ—েāϰি⧟াāύ āϤāϰুāĻŖী āĻ…āĻĒ্āϰāϤ্āϝাāĻļিāϤāĻ­াāĻŦে āĻāĻ• āϏাāϰ্āĻŦি⧟াāύ āϏৈāύ্āϝāĻ•ে āϤাāϰ āĻ—ৃāĻšে āφāĻļ্āϰ⧟ āĻĻে⧟। āϏে āϏাāϰ্āĻŦি⧟াāύ āϏৈāύ্āϝāĻĻেāϰāĻ•ে āĻ•াāĻĒুāϰুāώ āĻŦāϞে āϘৃāĻŖা āĻ•āϰāϤ। āĻ•িāύ্āϤু āĻ•্āϝাāĻĒ্āϟেāύ āĻŦ্āϞাāύ্āϟāϏāϞিāϰ āĻ…āĻŦাāĻ•āĻ•āϰা āĻāĻŦং āĻŽāύোāĻŽুāĻ—্āϧāĻ•āϰ āφāϚাāϰ- āφāϚāϰāĻŖে āϰা⧟āύা āĻĒ্āϰেāĻŽে āĻĒ⧜ে āϝাāύ। āĻ…āĻĒāϰāĻĻিāĻ•ে āϰা⧟āύাāϰ āφāĻ—েāϰ āĻĒ্āϰেāĻŽিāĻ• āϏাāϰ্āϜি⧟াāϏ āϝাāĻ•ে āĻŦীāϰ āĻ­াāĻŦāϤ āϏে āψāϰ্āώাāύ্āĻŦিāϤ āĻšāϤে āĻĨাāĻ•ে । āĻ•িāύ্āϤু āϤāϤāĻĻিāύে āϰা⧟āύা āϏাāϰ্āϜি⧟াāϏেāϰ āĻŽুāĻ–োāĻļ āϧāϰে āĻĢেāϞāϤে āĻĒাāϰে āĻāĻŦং āϏে āĻŦ্āϞাāύ্āϟāϏāϞিāϰ āĻĒ্āϰāϏ্āϤাāĻŦ āĻ—্āϰāĻšāĻŖ āĻ•āϰেāύ।


āφāϰ্āĻŽāϏ āĻāύ্āĻĄ āĻĻি āĻŽ্āϝাāύ āύাāϟāĻ•েāϰ āύাāĻŽেāϰ āĻ…āϰ্āĻĨ āĻšāϚ্āĻ›ে - āĻ…āϏ্āϤ্āϰ āĻāĻŦং āĻŽাāύুāώ । āĻāχ āύাāϟāĻ•āϟি āϤিāύি ā§§ā§Žā§¯ā§Ē āϏাāϞে āϰāϚāύা āĻ•āϰেāĻ›িāϞেāύ । āϤāĻŦে āĻŦাāϰ্āύাāϰ্āĻĄ ’āĻļ āĻāϰ āύাāϟāĻ•েāϰ āφāϜ āφāϰ āϤেāĻŽāύ āĻ•োāύো āϜৌāϞুāϏ āύেāχ । āĻ•িāύ্āϤু āĻāĻ•āϟা āϏāĻŽā§Ÿ āĻ›িāϞ āϝāĻ–āύ āϤাāϰ āĻĒ্āϰāϤিāϟা āύাāϟāĻ•āχ āϚāĻŽāĻ• āϜাāĻ—াāϤো।


āφāϰ্āĻŽāϏ āĻ…্āϝাāύ্āĻĄ āĻĻ্āϝা āĻŽ্āϝাāύ (Arms and the Man) āύাāϟāĻ•āϟি āϏংāϘāϟāύেāϰ āϏāĻŽā§Ÿ ā§§ā§Žā§Žā§Ģ āϏাāϞে āĻŦুāϞāĻ—েāϰি⧟া āĻ“ āϏাāϰ্āĻŦি⧟াāϰ āϝুāĻĻ্āϧেāϰ āĻļেāώ āϏāĻŽā§Ÿে।


āύাāϟāĻ•েāϰ āĻĒ্āϰāĻĨāĻŽ āĻĻৃāĻļ্āϝে āύা⧟িāĻ•া āϰাāχāύা āĻĒেāϟāĻ•āĻĢ (Raina Petkoff) āĻŦাāϰাāύ্āĻĻা⧟ āĻĻাঁ⧜ি⧟ে āϚāύ্āĻĻ্āϰাāϞোāĻ•িāϤ āϰাāϤ āĻ“ āĻŦāϰāĻĢ āĻĸাāĻ•া āĻŦāϞāĻ•াāύ āĻĒāϰ্āĻŦāϤāĻŽাāϞাāϰ āϏৌāύ্āĻĻāϰ্āϝ āωāĻĒāĻ­োāĻ— āĻ•āϰāĻ›িāϞ। āĻ āĻ…āϏāĻŽā§Ÿ āϤাঁāϰ āĻŽা āĻ•্āϝাāĻĨেāϰিāύ āĻĒেāϟāĻ•āĻĢেāϰ (Catherine Petkoff) āφāĻ—āĻŽāύে āϤাঁāϰ āĻ•াāϜেāϰ āĻŦ্āϝāϘাāϤ āϘāϟে। āϤাঁāϰ āĻŽা āϤাāĻ•ে āĻāĻ•āϟি āĻ–ুāĻļিāϰ āϏংāĻŦাāĻĻ āϜাāύাāϤেāχ āĻāϏেāĻ›িāϞ। āϤাঁāϰ āĻ•াāĻ› āĻĨেāĻ•েāχ āφāĻŽāϰা āϜাāύāϤে āĻĒাāϰি āĻŦুāϞāĻ—েāϰি⧟াāύ āϏেāύাāĻŦাāĻšিāύীāϰ āĻāĻ•āϟি āϘো⧜āϏāĻ“ā§Ÿাāϰ āĻĻāϞ āϏাāϰ্āĻŦি⧟াāύ āϏেāύাāĻĻেāϰ āĻŦিāϰুāĻĻ্āϧে āϏ্āϞিāĻ­āύিāϜাāϤে(Slivnitza) āĻŦিāϜ⧟ āϞাāĻ­ āĻ•āϰেāĻ›ে। āφāϰ āĻāχ āϘো⧜āϏāĻ“ā§Ÿাāϰ āĻŦাāĻšিāύীāϰ āύেāϤৃāϤ্āĻŦে āĻ›িāϞ āϰাāχāύাāϰ āĻŦাāĻ—āĻĻāϤ্āϤ āĻŽেāϜāϰ āϏাāϰ্āϜি⧟াāϏ (Sergius)।


āĻāϏāĻŽā§Ÿ āϞৌāĻ•া (āĻĒāϰিāϚাāϰিāĻ•া) āĻāϏে āĻ–āĻŦāϰ āĻĻে⧟ āϝে āϏাāϰ্āĻŦি⧟াāύ āϏেāύাāĻŦাāĻšিāύীāϰ āϞোāĻ•েāϰা āĻŦুāϞāĻ—েāϰি⧟াāύāĻĻেāϰ āϭ⧟ে āĻĒাāϞি⧟েāĻ›ে āĻāĻŦং āĻ…āύেāĻ•েāχ āϤাāĻĻেāϰ āĻļāĻšāϰেāĻ“ āĻĸুāĻ•েāĻ›ে। āĻŦুāϞāĻ—েāϰি⧟াāύ āϏেāύাāĻŦাāĻšিāύী āϤাāĻĻেāϰāĻ•ে āĻšāϤ্āϝাāϰ āωāĻĻ্āĻĻেāĻļ্āϝে āϤাāĻĻেāϰ āĻĒিāĻ›ু āύি⧟েāĻ›ে। āϝে āĻ•োāύ āϏāĻŽā§Ÿ āϤাāĻĻেāϰ āĻļāĻšāϰে āĻ—োāϞাāĻ—ুāϞি āĻšāϤে āĻĒাāϰে। āϏে āϜāύ্āϝে āĻĻāϰāϜা āϜাāύাāϞা āĻŦāύ্āϧ āĻ•āϰে āϤাāĻĻেāϰ āϏাāĻŦāϧাāύে āĻĨাāĻ•া āωāϚিāϤ। āϰাāχāύা āĻāϤে āĻļāĻ™্āĻ•িāϤ āĻ›িāϞ āύা āĻŦāϰং āϏে āϤাঁāϰ āϘāϰেāϰ āϜাāύাāϞা āĻ–োāϞা āϰেāĻ–ে āĻĻিāϞ। āϰাāϤে āĻāĻ•āϜāύ āϞোāĻ• āĻāχ āĻ–োāϞা āϜাāύাāϞা āĻĻি⧟ে āĻĒ্āϰāĻŦেāĻļ āĻ•āϰāϞ āφāϰ āϰাāχāύাāĻ•ে āĻŦāϞāϞ, āϝāĻĻি āϏে āĻļāĻŦ্āĻĻ āĻ•āϰে āϤāĻŦে āϏে āϤাāĻ•ে āĻ—ুāϞি āĻ•āϰে āĻšāϤ্āϝা āĻ•āϰāĻŦে।


āĻĒāϰে āϤাঁāϰ āϏাāĻĨে āĻ•āĻĨা āĻŦāϞে āϰাāχāύা āϜাāύāϤে āĻĒাāϰে āϏে āφāϏāϞে āϜাāϤিāϤে āĻāĻ•āϜāύ āϏুāχāϏ āύাāĻ—āϰিāĻ• āĻāĻŦং āĻŦেāϤāύāĻ­োāĻ—ী āĻĒāϞাāϤāĻ• āϏাāϰ্āĻŦি⧟াāύ āϏৈāύ্āϝ। āϤাঁāϰ āύাāĻŽ āĻŦ্āϞাāύāĻļāϞি (Bluntschli)। āϞোāĻ•āϟি āϤাāĻ•ে āϜাāύাāϞো āϏে āĻ–ুāĻŦāχ āĻ•্āϞাāύ্āϤ āĻ“ āĻ•্āώুāϧাāϰ্āϤ। āϰাāχāύা āϏāĻŦāϚে⧟ে āĻŦিāϏ্āĻŽিāϤ āĻšāϞ āϝāĻ–āύ āĻĻেāĻ–āϞ āϏে āϝুāĻĻ্āϧ āύি⧟ে āϤাঁāϰ āĻŽাāĻে āĻ•োāύ āĻ—āϰ্āĻŦ āύেāχ āĻŦāϰং āϏে āĻŦুāϞāĻ—েāϰি⧟াāύ āĻŦাāĻšিāύীāϰ āĻšāϤ্āϝাāϝāϜ্āĻžেāϰ āĻšাāϤ āĻĨেāĻ•ে āĻĒাāϞি⧟ে āĻŦেāϚে āĻāϏেāĻ›ে āĻŦāϞে āφāύāύ্āĻĻিāϤ। āĻāϏāĻŽā§Ÿ āϰাāχāύাāϰ āĻŽা āĻ•্āϝাāĻĨেāϰিāύ, āϤাāĻĻেāϰ āĻ­ৃāϤ্āϝ āϞৌāĻ•া āĻ“ āĻāĻ•āϜāύ āĻŦুāϞāĻ—েāϰি⧟াāύ āĻ…āĻĢিāϏাāϰ āφāϏে। āϰাāχāύা āϤāĻ–āύ āϤা⧜াāĻšু⧜ো āĻ•āϰে āϤাāĻ•ে āϜাāύাāϞাāϰ āĻ•াāϰ্āϟেāχāύ āĻāϰ āĻĒিāĻ›āύে āϞুāĻ•াāϤে āϏাāĻšাāϝ্āϝ āĻ•āϰে। āϤাāϰা āϘāϰে āĻĸুāĻ•āϞে āĻŦুāϞāĻ—েāϰি⧟াāύ āĻ…āĻĢিāϏাāϰāϟি āϤাāĻ•ে āϜাāύা⧟ āϝে āĻāĻ–াāύে āĻāĻ•āϜāύ āĻĒāϞাāϤāĻ• āϏাāϰ্āĻŦি⧟াāύ āϏৈāύ্āϝāĻ•ে āĻ–ুāϜāϤে āĻāϏেāĻ›ে।


āϏৈāύ্āϝāϟি āĻāχ āĻŦাāϏাāϰ āφāϏেāĻĒাāĻļেāχ āĻ•োāĻĨাāĻ“ āϞুāĻ•ি⧟েāĻ›ে। āϰাāχāύা āϜাāύা⧟ āϤাঁāϰ āϘāϰে āĻ•েāω āϞুāĻ•ি⧟ে āύেāχ। āϤাāϰা āϰাāχāύাāϰ āĻ•āĻĨা āĻŦিāĻļ্āĻŦাāϏ āĻ•āϰে āĻ“ āϚāϞে āϝা⧟। āĻ•্āϝাāĻĒ্āϟেāύ āĻŦ্āϞাāύāĻļāϞি āϤāĻ–āύ āϰাāχāύাāϰ āĻ•াāĻ›ে āĻ–াāĻŦাāϰ āϚাāχāϞে āϰাāχāύা āϤাāĻ•ে āϚāĻ•āϞেāϟ āĻ•্āϰিāĻŽ āĻ–েāϤে āĻĻে⧟। āϰাāχāύাāϰ āϜāύ্āϝে āφāϰো āĻŦিāϏ্āĻŽā§Ÿ āĻ…āĻĒেāĻ•্āώা āĻ•āϰāĻ›িāϞ। āĻŦ্āϞাāύāĻļāϞি āφāϏāϞে āϤাঁāϰ āĻĒāĻ•েāϟে āĻ…্āϝাāĻŽুāύিāĻļāύেāϰ āĻĒ্āϝাāĻ•েāϟেāϰ āĻ­িāϤāϰে āϚāĻ•āϞেāϟ āϰাāĻ–āϤ। āϤাāϰāĻĒāϰ āϏাāϰ্āϜি⧟াāϏ āϏāĻŽ্āĻĒāϰ্āĻ•ে āĻŦāϞāϤে āĻ—ি⧟ে āĻŦ্āϞাāύāĻļāϞি āϜাāύা⧟ āĻāχ āϞোāĻ•āϟা āφāϏ্āϤ āĻāĻ•āϟা āύিāϰ্āĻŦোāϧ। āϏে āϤাঁāϰ āĻ•āĻĒাāϞāϜোāϰে āϝুāĻĻ্āϧে āϜিāϤেāĻ›ে। āĻ•াāϰāĻŖ āϏেāĻĻিāύ āϏাāϰ্āĻŦি⧟াāύ āϏেāύাāĻŦাāĻšিāύীāϤে āĻāĻ•āϟা āĻĻূāϰ্āϘāϟāύা āϘāϟেāĻ›িāϞ।


āĻ­ুāϞāĻ•্āϰāĻŽে āϏেāĻĻিāύ āϤাāĻĻেāϰ āĻŽেāĻļিāύāĻ—াāύেāϰ āĻ—ুāϞিāϰ āĻŦāĻĻāϞে āĻ…āύ্āϝ āĻ…āϏ্āϤ্āϰেāϰ āĻ—ুāϞি āϏāϰāĻŦāϰাāĻš āĻ•āϰা āĻšā§ŸেāĻ›িāϞ। āĻ āĻĻুāϰ্āϘāϟāύাāϟি āύা āϘāϟāϞে, āϏাāϰ্āϜি⧟াāϏ āĻ“ āϤাঁāϰ āϏেāύাāĻŦাāĻšিāύীāĻ•ে āĻ—ুāϞি āĻ•āϰে āĻাāϜāϰা āĻ•āϰে āĻĻে⧟া āĻšāϤ। āĻāϰ āĻĒāϰāĻ“ āϰাāχāύা āϤাāĻ•ে (āϏাāϰ্āϜি⧟াāϏāĻ•ে) āϏাāĻšāϏী āĻŦāϞে āφāĻ–্āϝা⧟িāϤ āĻ•āϰে।


āωāϤ্āϤāϰে āĻŦ্āϞাāύāĻļāϞি āϤাāĻ•ে āϜাāύা⧟ āϏাāϰ্āϜি⧟াāϏ āĻāĻ•āϟা āύিāϰ্āĻŦোāϧ, āĻ…āĻĒেāĻļাāĻĻাāϰ āĻ“ āϞোāĻ• āĻĻেāĻ–াāύো āĻ•াāϜে āĻŦিāĻļ্āĻŦাāϏী। āϰাāχāύাāϰ āĻŦাāĻ—āĻĻāϤ্āϤ্āĻŦ āϏাāϰ্āϜি⧟াāϏāĻ•ে āϤিāϰāϏ্āĻ•াāϰ āĻ•āϰা āϏāϤ্āϤ্āĻŦেāĻ“, āϏে āĻŦ্āϞাāύāĻļāϞিāĻ•ে āϰাāϤেāϰāĻŦেāϞা āĻĒাāϞাāϤে āϏাāĻšাāϝ্āϝ āĻ•āϰāϤে āϰাāϜী āĻšā§Ÿ। āĻŦ্āϞাāύāĻļāϞিāϟি āϘুāĻŽি⧟ে āĻ—েāϞে āϰাāχāύা āϤাঁāϰ āĻŽা⧟েāϰ āĻ•াāĻ›ে āϏাāĻšাāϝ্āϝেāϰ āϜāύ্āϝে āϝা⧟। āϤাāϰা āĻĻুāϜāύ āϤাঁāϰ āϘুāĻŽে āφāϰ āĻŦ্āϝāϘাāϤ āϘāϟা⧟ āύা āĻ•াāϰāĻŖ āϏে āĻ•ā§ŸেāĻ•āĻĻিāύ āĻ­াāϞোāĻ­াāĻŦে āϘুāĻŽাāϤে āĻĒাāϰেāύি।


āύাāϟāĻ•েāϰ ⧍⧟ āĻĒāϰ্āĻŦāϟি āĻļুāϰু āĻšā§Ÿ ā§§ā§Žā§Žā§Ŧ āϏাāϞেāϰ āĻļুāϰুāϤে āĻāĻ•āχ āĻŦা⧜িāϰ āĻŦাāĻ—াāύেāϰ āĻāĻ•āϟি āĻĻৃāĻļ্āϝে, āϝāĻĻিāĻ“ āϏে āϏāĻŽā§Ÿ āĻŦāϏāύ্āϤāĻ•াāϞ āĻļেāώ āĻšā§Ÿে āĻ—ি⧟েāĻ›িāϞ। āĻāϏāĻŽā§Ÿ āϞৌāĻ•া āĻŦা⧜িāϰ āφāϰ āĻāĻ• āĻĒুāϰুāώ āĻĒāϰিāϚাāϰāĻ• āύিāĻ•োāϞাāϰ āϏাāĻĨে āϏāĻŽ্āĻĒāϰ্āĻ• āĻ•āϰে। āϞৌāĻ•া āϤাāĻ•ে āϜাāύা⧟ āϝে, āύিāĻ•োāϞা āϝāϤāχ āĻ•াāϜ āĻ•āϰুāĻ• āύা āĻ•েāύো āϏে āĻ•োāύ āĻĻিāύ āĻĒāϰিāϚাāϰāĻ•েāϰ āωāĻĒāϰে āĻ•িāĻ›ু āĻšāϤে āĻĒাāϰāĻŦে āύা। āϞৌāĻ•াāϰ āĻāϰ āϚে⧟ে āωāϚ্āϚাāĻ•াāĻ™্āĻ•্āώা āϰ⧟েāĻ›ে। āϞৌāĻ•া āφāϰো āϜাāύা⧟ āϜāύাāĻŦ āĻĒেāϟāĻ•āĻĢেāϰ āĻŦা⧜িāϰ āĻ…āύেāĻ• āĻ—োāĻĒāύ āĻ–āĻŦāϰ āϤাঁāϰ āĻ•াāĻ›ে āφāĻ›ে। āϜāĻŦাāĻŦে āύিāĻ•োāϞাāĻ“ āϜাāύা⧟ āϏেāĻ“ āĻāχ āĻŦা⧜িāϰ āĻ…āύেāĻ• āĻ—োāĻĒāύ āĻ–āĻŦāϰ āϜাāύে, āĻ•িāύ্āϤু āϏে āĻ•āĻ–āύোāχ āϤাঁāϰ āĻŽাāϞিāĻ•āĻ•ে āĻāχ āĻŦ্āϝāĻĒাāϰে āĻŦিāĻĒāĻĻে āĻĢেāϞে āϏুāϝোāĻ— āύিāĻŦে āύা।


āϏেāϏāĻŽā§Ÿ āĻŦা⧜িāϰ āĻŽাāϞিāĻ• āϜāύাāĻŦ āĻŽেāϜāϰ āĻĒেāϟāĻ•āĻĢ (Major Petkoff) āϝুāĻĻ্āϧ āĻļেāώে āĻŦা⧜ি āĻĢিāϰেāĻ›েāύ āĻāĻŦং āĻŦা⧜িāϤেāχ āĻ…āĻŦāϏ্āĻĨাāύ āĻ•āϰāĻ›িāϞেāύ। āĻŽেāϜāϰ āĻĒেāϟāĻ•āĻĢ āϤাঁāϰ āϏ্āϤ্āϰীāĻ•ে āϜাāύা⧟ āϏেāύাāĻŦাāĻšিāύীāϤে āϏাāϰ্āϜি⧟াāϏ āĻāϰ āĻ•āĻ–āύোāχ āĻĒāĻĻোāύ্āύāϤি āĻšāĻŦে āύা। āĻ•াāϰāĻŖ āϏাāĻŽāϰিāĻ• āĻ•ৌāĻļāϞেāϰ āĻŦ্āϝাāĻĒাāϰে āϤাঁāϰ āφāϏāϞে āĻ•োāύ āϜ্āĻžাāύāχ āύেāχ। āĻāϰ āĻĒāϰেāϰ āĻĻৃāĻļ্āϝে āφāĻŽāϰা āĻĻেāĻ–āϤে āĻĒাāχ, āϏাāϰ্āϜি⧟াāϏ āĻŽেāϜāϰ āĻĒেāϟāĻ•āĻĢেāϰ āĻŦা⧜িāϤে āφāϏে। āϰাāχāύা āϤাāĻ•ে āϏাāĻĻāϰেāχ āĻ—্āϰāĻšāύ āĻ•āϰে āύে⧟ āĻ•াāϰāĻŖ āϏে āĻāĻ–āύো āϤাāϰ āĻ…āύ্āϤāϰে āĻāĻ•āϜāύ āĻŦীāϰেāϰ āφāϏāύে āφāϏীāύ āĻ›িāϞ। āϏাāϰ্āϜি⧟াāϏ āϤাāĻ•ে āϜাāύা⧟, āϏাāϰ্āϜি⧟াāϏ āφāϰ āĻ•āĻ–āύোāχ āϏাāĻŽāϰিāĻ• āĻŦাāĻšিāύীāϤে āĻĒāĻĻোāύ্āύāϤি āĻĒাāĻŦে āύা। āϰাāĻ—েāϰ āĻŦāĻļে āϤাāχ āϏে āϤাঁāϰ āĻĒāĻĻ āϤ্āϝাāĻ— āĻ•āϰেāĻ›ে। āĻāϏāĻŽā§Ÿ āϏাāϰ্āϜি⧟াāϏ āφāϰ āĻŽেāϜāϰ āĻĒেāϟāĻ•āĻĢ āϝুāĻĻ্āϧ āĻĒāϰāĻŦāϰ্āϤী āĻāĻ•āϟি āϘāϟāύা āύি⧟ে āφāϞাāĻĒ āĻ•āϰে।


āϘāϟāύাāϟি āĻ›িāϞ āϝুāĻĻ্āϧ āĻļেāώে āĻāĻ•āϜāύ āϏুāχāϏ āϏেāύাāĻ•ে āύাāĻ•ি āĻĻু’āϜāύ āĻŦুāϞāĻ—েāϰি⧟াāύ āĻŽāĻšিāϞা āĻĻেāĻļ āĻ›ে⧜ে āĻĒাāϞাāϤে āϏাāĻšাāϝ্āϝ āĻ•āϰেāĻ›ে। āϰাāχāύা āϤাāĻĻেāϰ āĻ•āĻĨিāϤ āϘāϟāύা āĻļুāύে āĻŦুāĻāϤে āĻĒাāϰāϞ, āĻāχ āĻĻুāχ āĻŽāĻšিāϞা, āϏে āφāϰ āϤাঁāϰ āĻŽা āĻ•্āϝাāĻĨেāϰিāύ āĻ›া⧜া āĻ•েāω āύ⧟। āϤāĻŦে āϏে āĻ āĻŦ্āϝāĻĒাāϰে āϚুāĻĒ āĻ•āϰে āĻĨাāĻ•āϞ।


āĻāĻ• āϏুāϝোāĻ—ে āϏাāϰ্āϜি⧟াāϏ āϞৌāĻ•াāϰ āϏাāĻĨে āĻ—োāĻĒāύে āĻ•āĻĨা āĻŦāϞে। āϏে āϤাঁāϰ āϏাāĻĨে āĻ›িāύাāϞী āĻ•āϰা āĻļুāϰু āĻ•āϰāϞে āϞৌāĻ•া āϤাāĻ•ে āϜাāύা⧟ āϰাāχāύা āĻšā§ŸāϤো āϤাঁāϰ āĻĒ্āϰāϤি āĻāĻ–āύ āφāϰ āĻŦিāĻļ্āĻŦāϏ্āϤ āύেāχ। āĻļুāύে āϏাāϰ্āϜি⧟াāϏ āĻ…āĻŦাāĻ• āĻšā§Ÿে āϝা⧟। āϤাāϰা āĻŽāĻž্āϚ āϤ্āϝাāĻ— āĻ•āϰে। āĻāϰ āĻĒāϰেāϰ āĻĻৃāĻļ্āϝে āĻŽāĻž্āϚে āĻŽাāύে āĻŽেāϜāϰ āĻĒেāϟāĻ•āĻĢেāϰ āĻŦা⧜িāϤে āφāĻŽāϰা āĻŦ্āϞাāύāĻļāϞিāĻ•ে āφāϏāϤে āĻĻেāĻ–āϤে āĻĒাāχ। āϏে āϝেāχ āĻŽুāĻšূāϰ্āϤে āĻŦা⧜িāϤে āĻĒ্āϰāĻŦেāĻļ āĻ•āϰে, āϤāĻ–āύ āĻŽেāϜāϰ āĻĒেāϟāĻ•āĻĢ āφāϰ āϏাāϰ্āϜি⧟াāϏ āĻŦা⧜িāϰ āϞাāχāĻŦ্āϰেāϰিāϤে āĻŦāϏে āϝুāĻĻ্āϧেāϰ āĻ•োāωāĻļāϞ āύি⧟ে āφāϞোāϚāύা āĻ•āϰāĻ›িāϞ। āϞৌāĻ•া āϤাঁāϰ āĻ•াāĻ›ে āĻŽিāϏেāϏ āĻ•্āϝাāĻĨেāϰিāύāĻ•ে āύি⧟ে āφāϏে। āĻŽিāϏেāϏ āĻ•্āϝাāĻĨেāϰিāύ āϤাāĻ•ে āĻĻেāĻ–ে āϚিāύāϤে āĻĒাāϰে āĻ•িāύ্āϤু āĻāĻ•āϟা āĻŦিāώ⧟ে āϭ⧟ āĻĒা⧟, āϤাঁāϰ āϏ্āĻŦাāĻŽী āφāϰ āϏাāϰ্āϜি⧟াāϏ āϝāĻĻি āϤাāĻ•ে āĻĻেāĻ–ে āφāϟāĻ•ে āĻĻে⧟ āĻŦা āĻ•োāύ āϏāĻŽāϏ্āϝা āϏৃāώ্āϟি āĻ•āϰে। āĻŦ্āϞাāύāĻļāϞি āϤাāĻ•ে āϜাāύা⧟ āϏে āĻŽেāϜāϰ āĻĒেāϟāĻ•āĻĢেāϰ āĻ•োāϟāϟি āϤাāĻĻেāϰāĻ•ে āĻĢেāϰāϤ āĻĻিāϤে āĻāϏেāĻ›িāϞ। āĻ āϏāĻŽā§Ÿ āϰাāχāύা āϤাāĻ•ে āĻĻেāĻ–ে āĻ–ুāĻŦāχ āĻ–ুāĻļি āĻšā§Ÿ āĻāĻŦং āφāύāύ্āĻĻেāϰ āφāϤিāĻļāϝ্āϝে āϤাāĻ•ে “āϚāĻ•āϞেāϟ āĻ•্āϰিāĻŽ āϏোāϞāϜাāϰ” āĻŦāϞে āϚিā§ŽāĻ•াāϰ āĻ•āϰে āĻ“āĻ ে।


āύিāϜেāϰ āϘāϰে āĻĒ্āϰāĻŦেāĻļ āĻ•āϰাāϰ āϏāĻŽā§Ÿ āϤাঁāϰ āĻĒিāϤা āĻ“ āϏাāϰ্āϜি⧟াāϏেāϰ āϏাāĻĨে āĻĻেāĻ–া āĻšā§Ÿ āĻāĻŦং āϚিā§ŽāĻ•াāϰ āĻ•āϰাāϰ āĻ•াāϰāĻŖ āĻšিāϏেāĻŦে āĻŦāϞে āϏে āφāϏāϞে āĻāĻ•āϟি āϚāĻ•āϞেāϟ āĻĻি⧟ে āĻāĻ•āϜāύ āϏৈāύ্āϝেāϰ āφāĻ•ৃāϤি āϤৈāϰী āĻ•āϰেāĻ›িāϞ āϝেāϟা āĻ…āϏাāĻŦāϧাāύে āύিāĻ•োāϞা āĻ­েāĻ™্āĻ—ে āĻĢেāϞেāĻ›িāϞ। āĻŽেāϜāϰ āĻĒেāϟāĻ•āĻĢ āĻ“ āϏাāϰ্āϜি⧟াāϏেāϰ āϏাāĻĨে āĻŦ্āϞাāύāĻļāϞিāϰ āĻĻেāĻ–া āĻšāϞে āϤাāϰা āϤাāĻ•ে āϚিāύāϤে āĻĒাāϰে āĻ•াāϰāĻŖ āϝুāĻĻ্āϧেāϰ āĻŽā§ŸāĻĻাāύে āĻ“ āĻļাāύ্āϤি āϚুāĻ•্āϤিāϰ āϏāĻŽā§Ÿ āϤাāĻ•ে āϤাāϰা āĻĻেāĻ–েāĻ›িāϞ। āĻŽেāϜāϰ āĻĒেāϟāĻ•āĻĢ āϤাāĻ•ে āϤাঁāϰ āĻŦা⧜িāϤে āĻĨাāĻ•āϤে āĻŦāϞেāύ।


āĻļেāώ āĻ…āĻ™্āĻ•ে,āĻŦিāĻ­িāύ্āύ āϧāϰāύেāϰ āωāϤ্āϤেāϜāύাāϰ āĻĒ্āϰāĻ•াāĻļ āĻ“ āϏেāĻ—ুāϞো āĻĒ্āϰāĻļāĻŽāύ āφāĻŽāϰা āĻĻেāĻ–āϤে āĻĒাāχ। āĻŽেāϜāϰ āĻĒেāϟāĻ•āĻĢ āϤাঁāϰ āĻĒুāϰāύো āĻ•োāϟāϟি āϤাāĻĻেāϰ āĻ•্āϞāϜেāϟেāϰ āĻŽাāĻে āĻ–ুঁāϜে āύা āĻĒে⧟ে āϤাঁāϰ āϏ্āϤ্āϰীāϰ āĻ•াāĻ›ে āϏেāϟা āϏāĻŽ্āĻĒāϰ্āĻ•ে āϜাāύāϤে āϚাāχāϞে āϤাঁāϰ āϏ্āϤ্āϰী āϤাāĻ•ে āĻŦāϞে āϏেāϟাāϤো āϏেāĻ–াāύেāχ (āύীāϞ āĻ•্āϞāϜেāϟে) āφāĻ›ে। āϤāĻ–āύ āϏে āϤাঁāϰ āϏ্āϤ্āϰীāϰ āϏাāĻĨে āĻāĻ•āϟি āĻ—āĻšāύা āĻĻিāĻŦেāύ āĻŦāϞে āĻŦাāϜি āϧāϰেāύ। āϤাঁāϰ āϏ্āϤ্āϰী āϤāĻ–āύ āύিāĻ•োāϞাāĻ•ে āĻĻি⧟ে āύীāϞ āĻ•্āϞāϜেāϟ āĻĨেāĻ•ে āĻ•োāϟāϟি āφāύা⧟। āĻāϤে āĻŽেāϜāϰ āĻĒেāϟāĻ•āĻĢ āĻ•িāĻ›ুāϟা āĻšāϤāĻŦুāĻĻ্āϧি āĻšā§Ÿ āĻ•াāϰāĻŖ āϤিāύি āĻāĻ•āϟু āφāĻ—েāχ āϏেāĻ–াāύে āϏেāϟা āĻ–ুঁāϜে āĻĒাāύāύি।


āύাāϟāĻ•েāϰ ⧍⧟ āĻĒāϰ্āĻŦ āĻāϰ āĻļুāϰুāϤেāχ āĻĻেāĻ–া āϝা⧟ āϏেāύাāĻŦাāĻšিāύীāϰ āĻ•িāĻ›ু āĻĒāϰিāĻ•āϞ্āĻĒāύা āϤৈāϰী āĻ“ āĻ…āύ্āϝাāύ্āϝ āϞেāĻ–াāϞেāĻ–িāϰ āĻ•াāϜে āĻŽেāϜāϰ āĻĒেāϟāĻ•āĻĢāĻ•ে āĻŦ্āϞাāύāĻļāϞি āϏাāĻšাāϝ্āϝ āĻ•āϰে। āĻāϰ āĻŽাāϧ্āϝāĻŽে āϏে āĻŦ্āϞাāύāĻļāϞিāϰ āϏেāύাāĻŦাāĻšিāύী āĻ“ āϝুāĻĻ্āϧ āϏāĻŽ্āĻĒāϰ্āĻ•ে āĻĻāĻ•্āώāϤা, āϝোāĻ—্āϝāϤা āĻ“ āĻ—āĻ­ীāϰ āϜ্āĻžাāύেāϰ āĻĒāϰিāϚ⧟ āϞাāĻ­ āĻ•āϰেāύ। āĻŽেāϜāϰ āĻĒেāϟāĻ•āĻĢ āĻ“ āϏাāϰ্āϜি⧟াāϏ āϚāϞে āĻ—েāϞে (āĻŦ্āϞাāύāĻļāϞি āĻĢিāϰে āφāϏাāϰ āĻĒāϰ) āĻāχ āĻĒ্āϰāĻĨāĻŽāĻŦাāϰেāϰ āĻŽāϤ āφāϞাāĻĻাāĻ­াāĻŦে āϰাāχāύা āĻ“ āϏে āĻ•āĻĨা āĻŦāϞাāϰ āϏুāϝোāĻ— āĻĒা⧟। āϰাāχāύা āϤাঁāϰ āϏাāĻĨে āĻ­াāύ āĻ•āϰা āĻļুāϰু āĻ•āϰে। āϤাāĻ•ে āĻŦāϞে āϝে, āϤাঁāϰ āϜāύ্āϝে āϤাāĻ•ে āĻĻুāχ āĻĻুāχ āĻŦাāϰ āĻŽিāĻĨ্āϝা āĻŦāϞāϤে āĻšā§ŸেāĻ›ে, āϝা āϤাāĻ•ে āύৈāϤিāĻ•āĻ­াāĻŦে āφāĻšāϤ āĻ•āϰেāĻ›ে।


āĻ•্āϝাāĻĒ্āϟেāύ āĻŦ্āϞাāύāĻļāϞি āϤাঁāϰ āĻ…āĻ­িāύ⧟ āĻĻেāĻ–ে āφāϰ āϤাāĻ•ে āĻŦāϞে āϝে āϏেāχ āĻĒ্āϰāĻĨāĻŽ āĻŦ্āϝাāĻ•্āϤি āϝে āϤাঁāϰ āĻāχ āĻāχ āĻ…āĻ­িāύ⧟ āĻĻেāĻ–েāĻ›ে। āĻŦ্āϞাāύāĻļāϞি āϤাāĻ•ে āϘৃāĻŖা āĻ•āϰে āĻ•িāύা āĻāϟা āĻ­েāĻŦে, āϰাāχāύা āϤāĻ–āύ āύাāϟāĻ•ী⧟ āφāϚāϰāĻŖ āĻļুāϰু āĻ•āϰে। āĻ…āύ্āϝāĻĻিāĻ•ে āϤাঁāϰ āĻāχ āĻ­āύিāϤাāĻĒূāϰ্āĻŖ āφāϚāϰāĻŖ āĻĻেāĻ–ে āĻŦ্āϞাāύāĻļāϞি āĻŽুāĻ—্āϧ āĻšā§Ÿ āĻ•িāύ্āϤু āĻāϟাāĻ•ে  āϤেāĻŽāύ āĻ—ুāϰুāϤ্āĻŦ āĻĻে⧟ āύা। āϰাāχāύা āϤাঁāϰ āĻ•াāĻ›ে āϤাঁāϰ āύিāϜেāϰ āĻ›āĻŦি, āϝেāϟাāϤে “To my chocolate cream soldier” āϞিāĻ–ে āϏে āϤাঁāϰ āĻĒিāϤাāϰ āĻ•োāϟেāϰ āĻĒāĻ•েāϟে āĻ­āϰে āĻĻি⧟ে āĻĻি⧟েāĻ›িāϞ, āϏেāϟা āϏāĻŽ্āĻĒāϰ্āĻ•ে āϜাāύāϤে āϚা⧟। āĻŦ্āϞাāύāĻļāϞি āϤাāĻ•ে āϜাāύা⧟ āϝে, āϝুāĻĻ্āϧেāϰ āϏāĻŽā§Ÿ āϏে āϤাঁāϰ āĻĒিāϤাāϰ āĻ•োāϟ āĻāĻ• āĻŦ্āϝāĻŦāϏা⧟ীāϰ āĻ•াāĻ›ে āĻŦāύ্āϧāĻ• āϰেāĻ–েāĻ›িāϞ। āϏেāĻ–াāύে āĻšā§ŸāϤো āĻ•োāύāĻ­াāĻŦে āϏেāϟা āĻšাāϰি⧟ে āĻ—ি⧟েāĻ›িāϞ। āĻŦ্āϞাāύāĻļāϞিāϰ āĻ•াāϜে āϰাāχāύা āĻ•িāĻ›ুāϟা āĻŽāύঃāĻ•্āώুāĻŖ্āĻŖ āĻšāϞ। āĻāχ āϏāĻŽā§Ÿ āĻŦ্āϞাāύāĻļāϞিāϰ āĻ•াāĻ›ে āϟেāϞিāĻ—্āϰাāĻŽে āĻ–āĻŦāϰ āφāϏে āϝে āϤাঁāϰ āĻĒিāϤা āĻŽৃāϤ্āϝুāĻŦāϰāύ āĻ•āϰেāĻ›ে āĻ“ āϏে āϤাঁāϰ āĻŦাāĻŦাāϰ āϏāĻŽ্āĻĒāϤ্āϤি āĻ“ ā§Ŧāϟি āĻšোāϟেāϞেāϰ āωāϤ্āϤāϰাāϧিāĻ•াāϰী āĻšā§ŸেāĻ›ে।


Arms and the man āĻŽāĻž্āϚ āĻĨেāĻ•ে āϤাāϰা āϚāϞে āĻ—েāϞে āϞৌāĻ•া āĻ“ āϏাāϰ্āϜি⧟াāϏ āĻŽāĻž্āϚে āĻĒ্āϰāĻŦেāĻļ āĻ•āϰে। āϞৌāĻ•া āĻ“ āϏাāϰ্āϜি⧟াāϏেāϰ āĻ…āĻ­িāϏাāϰ āϚāϞāϤে āĻĨাāĻ•ে। āϞৌāĻ•া āϤাāĻ•ে āϜাāύা⧟ āϰাāχāύা āφāϏāϞে āϏাāϰ্āϜি⧟াāϏāĻ•ে āĻ­াāϞোāĻŦাāϏে āύা āĻŦāϰং āϏে āĻŦ্āϞাāύāĻļāϞিāĻ•ে āĻ­াāϞোāĻŦাāϏে। āĻāϟা āĻļুāύে āϏাāϰ্āϜি⧟াāϏেāϰ āĻŽাāĻে āĻĒৌāϰুāώāϤ্āϤ্āĻŦ āϜেāĻ—ে āĻ“āĻ ে āĻāĻŦং āϏে āĻŦ্āϞাāύāĻļāϞিāĻ•ে āĻĻ্āĻŦāύ্āĻĻāϝুāĻĻ্āϧেāϰ āφāĻšāĻŦাāύ āĻ•āϰে। āϰাāχāύা āϤাāϰ āϏাāĻĨে āϤāϰ্āĻ• āĻ•āϰে āĻ“ āĻŦāϞে āϝে āϏে āϞৌāĻ•াāĻ•ে āϜ⧜ি⧟ে āϧāϰāϤে āĻĻেāĻ–েāĻ›ে। āĻŦ্āϞাāύāĻļāϞি āϤাāĻ•ে āϜাāύা⧟ āϏে āϤাāĻ•ে āϏেāĻĻিāύ āĻ…āϏ্āϤ্āϰেāϰ āĻŽুāĻ–েāχ āϘāϰে āĻĒ্āϰāĻŦেāĻļ āĻ•āϰāϤে āĻĻি⧟েāĻ›িāϞ। āϤāĻ–āύ āϏাāϰ্āϜি⧟াāϏ āϤাঁāϰ āĻĻ্āĻŦāύ্āĻĻāϝুāĻĻ্āϧেāϰ āχāϚ্āĻ›া āϤ্āϝাāĻ— āĻ•āϰে। āϰাāχāύা āϜাāύা⧟ āϝেāĻĻিāύ āϤাāĻ•ে āĻĒ্āϰāĻĨāĻŽ āĻĻেāĻ–েāĻ›িāϞ, āϏেāĻĻিāύ āĻĨেāĻ•েāχ āϏে āĻŦ্āϞাāύāĻļāϞিāĻ•ে āĻ­াāϞোāĻŦাāϏে। āĻāϟা āϜেāύে āĻŽেāϜāϰ āĻĒেāϟāĻ•āĻĢ āĻ•িāĻ›ুāϟা āĻŦিāϰāĻ•্āϤ āĻšāϞ।


āĻāĻĻিāĻ•ে āϏাāϰ্āϜি⧟াāϏāĻ“ āϤাঁāϰ āϞৌāĻ•াāϰ āĻĒ্āϰāϤি āĻ­াāϞোāĻŦাāϏা āĻĒ্āϰāĻ•াāĻļ āĻ•āϰে āĻĻে⧟। āϤাঁāϰ āĻšাāϤ āϧāϰে āϤাāĻ•ে āĻŦি⧟েāϰ āĻĒ্āϰāϏ্āϤাāĻŦ āĻĻে⧟। āϞৌāĻ•াāĻ“ āĻ–ুāĻļি āĻšā§Ÿে āϤাāϤে āϰাāϜী āĻšā§Ÿে āϝা⧟। āύিāĻ•োāϞা āϤāĻ–āύ āϤাঁāϰ āϞৌāĻ•াāϰ āϏাāĻĨে āϤাāϰ āĻŦাāĻ—āĻĻাāύ (Engagement) āϤ্āϝাāĻ— āĻ•āϰে। āĻŦ্āϞাāύāĻļāϞি āύিāĻ•োāϞাāĻ•ে āϤাঁāϰ āĻšোāϟেāϞে āϚাāĻ•āϰি āĻĻেāĻŦেāύ āĻŦāϞে āĻ“ā§ŸাāĻĻা āĻĻে⧟। āĻ•্āϝাāĻĒ্āϟেāύ āĻŦ্āϞাāύāĻļāϞি āϰাāχāύাāĻ•ে āĻŦি⧟েāϰ āĻĒ্āϰāϏ্āϤাāĻŦ āĻĻে⧟। āĻŽেāϜāϰ āĻĒেāϟāĻ•āĻĢ āϝāĻ–āύ āϜাāύāϤে āĻĒাāϰেāύ āĻŦ্āϞাāύāĻļāϞি āϤাঁāϰ āĻĒিāϤাāϰ āĻ•াāĻ› āĻĨেāĻ•ে āĻŦিāĻļাāϞ āϏāĻŽ্āĻĒāϤ্āϤিāϰ āωāϤ্āϤāϰাāϧিāĻ•াāϰী āĻšā§ŸেāĻ›ে, āϤāĻ–āύ āϤিāύিāĻ“ āφāϰ āĻĻেāϰি āύা āĻ•āϰে āϰাāϜী āĻšā§Ÿে āϝাāύ। āĻŦ্āϞাāύāĻļāϞি āϏāĻŦāĻ•িāĻ›ু āĻ—ুāĻ›ি⧟ে āύে⧟াāϰ āϜāύ্āϝে āĻĻুāχ āϏāĻĒ্āϤাāĻšেāϰ āϏāĻŽā§Ÿ āύি⧟ে āύিāϜেāϰ āĻŦা⧜ি āĻĢিāϰে āφāϏে।



English Summary (āχংāϰেāϜি āϏাāĻŽাāϰি āĻŦা āϏাāϰāĻŽāϰ্āĻŽ)

The play is set in Bulgaria and set during the brief Bulgarian-Serbian war in the 1885s. It opens with the young romantic Raina Petkoff and her mother Catherine talking excitedly about a successful cavalry charge led by the handsome and heroic Sergius, to whom Raina is betrothed. They are thrilled at his success. A few moment later, their defiant young servant, Louka comes in and tells them that there will be fighting in the streets soon, and that they should lock all of their windows. Raina is not worried, and chooses to keep her window unlocked. And shortly after the gunshots start that night, she hears a man climb onto her balcony and into her room.


He is a Swiss professional soldier fighting for Servia. He says Raina that he will kill her if she makes a noise. The man is Swiss and an escaped soldier, fighting as a mercenary for the Serbians. Raina is shocked to see that the man is tired and hungry, that he does not glorify battle, and that he is merely happy to have escaped the carnage alive. Raina helps him hide behind a curtain just as Catherine, Louka, and a Bulgarian officer enter to search the room for any Serbs who might be hiding in the area. Raina convinces them that no one is in her room, and they leave. Louka is the only one who sees through the deception, but she only smirks and leaves in silence.


Once safe, the soldier comes out from hiding and explains he is a Swiss mercenary for the Serbian army. He admits to Raina that he does not carry cartridges for his gun, only chocolates, as these are more practical for a starving soldier. Thinking him childish, Raina offers the soldier some chocolate creams, which he devours hungrily. The man argues that Sergius’s cavalry charge against the Serbs was foolish, and succeeded only by sheer luck. The Serbs had machine guns but were given the wrong ammunition by accident, and therefore could not mow down Sergius and his men.


Raina indignantly says that that commander is her betrothed, and the man apologizes, holding back laughter. Raina nevertheless agrees to keep the man safe, saying that her family is one of the most powerful and wealthy in Bulgaria, and that his safety will be ensured as their guest. She goes to get her mother and when they return he has fallen asleep on Raina’s bed. They allow the man to rest since he has not slept for days.


The second act begins in the garden of the same house, though it is now spring of 1886. Louka is engaged to the house’s head male servant, Nicola. Louka tells Nicola that he will never be more than a servant, and that she has higher aspirations. Louka tells him she knows many secrets about the Petkoff family, and Nicola says that he does, too, but would never blackmail his masters. Major Petkoff, the head of the family, returns from the war. He announces that the war has ended with a peace treaty, upsetting his wife Catherine who believes Bulgaria should have annexed Serbia.


He also reports to Catherine that Sergius will never receive the military promotion Sergius craves, because Sergius has no command of military strategy. Sergius enters and is greeted warmly by the family, and especially by Raina, who still considers him a hero. The once idealistic man has grown cynical, resigning from the military and complaining about the lack of honor and bravery among professional soldiers. He recounts an anecdote about a fleeing Swiss mercenary escaping into the bedroom of a fascinated Bulgarian woman, alarming Raina and Catherine.


Once alone, Raina and Sergius speak of their love for each other in reverential and somewhat ridiculous tones. As soon as Raina leaves to get her hat, Sergius embraces Louka and complains about how exhausting his relationship with his fiancÊe is. Louka claims not to understand the hypocrisy of the upper class, saying that both Sergius and Raina pretend to love each other while flirting with other people. They part just as Raina returns. Louka reveals to Sergius that Raina might not remain faithful to Sergius, and Sergius is taken aback.


They exit. As Raina exits, Louka enters and announces that a Swiss officer is at the door. Captain Bluntschli, the chocolate cream soldier, has come to return the coat that was used to smuggle him out of the house. Catherine realizes that he is the man that hid in Raina’s room, the same man that she and Raina helped escape. Catherine worries that Sergius and Petkoff, who are conferring over military plans in the library, might encounter the soldier.


Sergius and Petkoff have no idea that the story they heard about a soldier being helped by two Bulgarian women involves the Petkoffs. Bluntschli has come to return Major Petkoff’s coat that Catherine and Raina lent him to escape. Raina is so happy to see him that she blurts out, “the chocolate cream soldier!”. Petkoff and Sergius, who have in fact already met Bluntschli during the war, ask Bluntschli to stay and pass the time.


In the final act, the various tensions of the play thus far are exposed. Louka tells Sergius that the man with whom Raina is in love is Bluntschli. Sergius challenges Bluntschli to a duel because of this, but Bluntschli explains his way out of it. A picture of herself that Raina placed in her father’s cloak for Bluntschli to find is exposed, proving that Raina has not been entirely truthful to Sergius.


Raina admits that she has had feelings for Bluntschli since they first met. Major Petkoff is aghast. When Bluntschli acknowledges that he has loved Raina, Sergius and Louka reveal that they have been having a secret affair at Sergius’ instigation, and Nicola releases Louka from their engagement. Bluntschli, whose father has just died, has come into a great deal of money, so Raina’s parents are glad to marry her off to him and his handsome fortune.


Raina is revealed to be twenty-three rather than seventeen, enabling Bluntschli in good conscience to ask for her hand in marriage. Bluntschli promises to hire Nicola, whom he admires, to run the hotels he has just received as part of his inheritance. Sergius accepts Louka has his lover in public, thus satisfying Louka’s desire to move up in the social ranks. The play ends with Sergius exclaiming, of Bluntschli, “What a man!” and engaging of the two couples.


There is no option to read main text. If you want to understand well in less time, you need to know about the character of the drama and you will see the summary inshallah.



arms and the man, arms and the man, arms and the man, arms and the man, arms and the man, arms and the man, arms and the man, arms and the man, arms and the man, arms and the man

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