Arms and The Man by G. B Shaw Bengali Summary & Themes
Subject: Introduction to Drama
Arms and The Man Written by by George Bernard Shaw
Bangla summary & and English Summary
Themes & Character Discussions
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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)
āϰাā§āύা āύাāĻŽে āĻāĻ āĻŦুāϞāĻেāϰিā§াāύ āϤāϰুāĻŖী āĻ āĻĒ্āϰāϤ্āϝাāĻļিāϤāĻাāĻŦে āĻāĻ āϏাāϰ্āĻŦিā§াāύ āϏৈāύ্āϝāĻে āϤাāϰ āĻৃāĻšে āĻāĻļ্āϰ⧠āĻĻেā§। āϏে āϏাāϰ্āĻŦিā§াāύ āϏৈāύ্āϝāĻĻেāϰāĻে āĻাāĻĒুāϰুāώ āĻŦāϞে āĻৃāĻŖা āĻāϰāϤ। āĻিāύ্āϤু āĻ্āϝাāĻĒ্āĻেāύ āĻŦ্āϞাāύ্āĻāϏāϞিāϰ āĻ āĻŦাāĻāĻāϰা āĻāĻŦং āĻŽāύোāĻŽুāĻ্āϧāĻāϰ āĻāĻাāϰ- āĻāĻāϰāĻŖে āϰাā§āύা āĻĒ্āϰেāĻŽে āĻĒā§ে āϝাāύ। āĻ āĻĒāϰāĻĻিāĻে āϰাā§āύাāϰ āĻāĻেāϰ āĻĒ্āϰেāĻŽিāĻ āϏাāϰ্āĻিā§াāϏ āϝাāĻে āĻŦীāϰ āĻাāĻŦāϤ āϏে āĻāϰ্āώাāύ্āĻŦিāϤ āĻšāϤে āĻĨাāĻে । āĻিāύ্āϤু āϤāϤāĻĻিāύে āϰাā§āύা āϏাāϰ্āĻিā§াāϏেāϰ āĻŽুāĻোāĻļ āϧāϰে āĻĢেāϞāϤে āĻĒাāϰে āĻāĻŦং āϏে āĻŦ্āϞাāύ্āĻāϏāϞিāϰ āĻĒ্āϰāϏ্āϤাāĻŦ āĻ্āϰāĻšāĻŖ āĻāϰেāύ।
āĻāϰ্āĻŽāϏ āĻāύ্āĻĄ āĻĻি āĻŽ্āϝাāύ āύাāĻāĻেāϰ āύাāĻŽেāϰ āĻ āϰ্āĻĨ āĻšāĻ্āĻে - āĻ āϏ্āϤ্āϰ āĻāĻŦং āĻŽাāύুāώ । āĻāĻ āύাāĻāĻāĻি āϤিāύি ā§§ā§Žā§¯ā§Ē āϏাāϞে āϰāĻāύা āĻāϰেāĻিāϞেāύ । āϤāĻŦে āĻŦাāϰ্āύাāϰ্āĻĄ ’āĻļ āĻāϰ āύাāĻāĻেāϰ āĻāĻ āĻāϰ āϤেāĻŽāύ āĻোāύো āĻৌāϞুāϏ āύেāĻ । āĻিāύ্āϤু āĻāĻāĻা āϏāĻŽā§ āĻিāϞ āϝāĻāύ āϤাāϰ āĻĒ্āϰāϤিāĻা āύাāĻāĻāĻ āĻāĻŽāĻ āĻাāĻাāϤো।
āĻāϰ্āĻŽāϏ āĻ ্āϝাāύ্āĻĄ āĻĻ্āϝা āĻŽ্āϝাāύ (Arms and the Man) āύাāĻāĻāĻি āϏংāĻāĻāύেāϰ āϏāĻŽā§ ā§§ā§Žā§Žā§Ģ āϏাāϞে āĻŦুāϞāĻেāϰিā§া āĻ āϏাāϰ্āĻŦিā§াāϰ āϝুāĻĻ্āϧেāϰ āĻļেāώ āϏāĻŽā§ে।
āύাāĻāĻেāϰ āĻĒ্āϰāĻĨāĻŽ āĻĻৃāĻļ্āϝে āύাā§িāĻা āϰাāĻāύা āĻĒেāĻāĻāĻĢ (Raina Petkoff) āĻŦাāϰাāύ্āĻĻাā§ āĻĻাঁā§িā§ে āĻāύ্āĻĻ্āϰাāϞোāĻিāϤ āϰাāϤ āĻ āĻŦāϰāĻĢ āĻĸাāĻা āĻŦāϞāĻাāύ āĻĒāϰ্āĻŦāϤāĻŽাāϞাāϰ āϏৌāύ্āĻĻāϰ্āϝ āĻāĻĒāĻোāĻ āĻāϰāĻিāϞ। āĻ āĻ āϏāĻŽā§ āϤাঁāϰ āĻŽা āĻ্āϝাāĻĨেāϰিāύ āĻĒেāĻāĻāĻĢেāϰ (Catherine Petkoff) āĻāĻāĻŽāύে āϤাঁāϰ āĻাāĻেāϰ āĻŦ্āϝāĻাāϤ āĻāĻে। āϤাঁāϰ āĻŽা āϤাāĻে āĻāĻāĻি āĻুāĻļিāϰ āϏংāĻŦাāĻĻ āĻাāύাāϤেāĻ āĻāϏেāĻিāϞ। āϤাঁāϰ āĻাāĻ āĻĨেāĻেāĻ āĻāĻŽāϰা āĻাāύāϤে āĻĒাāϰি āĻŦুāϞāĻেāϰিā§াāύ āϏেāύাāĻŦাāĻšিāύীāϰ āĻāĻāĻি āĻোā§āϏāĻā§াāϰ āĻĻāϞ āϏাāϰ্āĻŦিā§াāύ āϏেāύাāĻĻেāϰ āĻŦিāϰুāĻĻ্āϧে āϏ্āϞিāĻāύিāĻাāϤে(Slivnitza) āĻŦিāĻā§ āϞাāĻ āĻāϰেāĻে। āĻāϰ āĻāĻ āĻোā§āϏāĻā§াāϰ āĻŦাāĻšিāύীāϰ āύেāϤৃāϤ্āĻŦে āĻিāϞ āϰাāĻāύাāϰ āĻŦাāĻāĻĻāϤ্āϤ āĻŽেāĻāϰ āϏাāϰ্āĻিā§াāϏ (Sergius)।
āĻāϏāĻŽā§ āϞৌāĻা (āĻĒāϰিāĻাāϰিāĻা) āĻāϏে āĻāĻŦāϰ āĻĻেā§ āϝে āϏাāϰ্āĻŦিā§াāύ āϏেāύাāĻŦাāĻšিāύীāϰ āϞোāĻেāϰা āĻŦুāϞāĻেāϰিā§াāύāĻĻেāϰ āĻā§ে āĻĒাāϞিā§েāĻে āĻāĻŦং āĻ āύেāĻেāĻ āϤাāĻĻেāϰ āĻļāĻšāϰেāĻ āĻĸুāĻেāĻে। āĻŦুāϞāĻেāϰিā§াāύ āϏেāύাāĻŦাāĻšিāύী āϤাāĻĻেāϰāĻে āĻšāϤ্āϝাāϰ āĻāĻĻ্āĻĻেāĻļ্āϝে āϤাāĻĻেāϰ āĻĒিāĻু āύিā§েāĻে। āϝে āĻোāύ āϏāĻŽā§ āϤাāĻĻেāϰ āĻļāĻšāϰে āĻোāϞাāĻুāϞি āĻšāϤে āĻĒাāϰে। āϏে āĻāύ্āϝে āĻĻāϰāĻা āĻাāύাāϞা āĻŦāύ্āϧ āĻāϰে āϤাāĻĻেāϰ āϏাāĻŦāϧাāύে āĻĨাāĻা āĻāĻিāϤ। āϰাāĻāύা āĻāϤে āĻļāĻ্āĻিāϤ āĻিāϞ āύা āĻŦāϰং āϏে āϤাঁāϰ āĻāϰেāϰ āĻাāύাāϞা āĻোāϞা āϰেāĻে āĻĻিāϞ। āϰাāϤে āĻāĻāĻāύ āϞোāĻ āĻāĻ āĻোāϞা āĻাāύাāϞা āĻĻিā§ে āĻĒ্āϰāĻŦেāĻļ āĻāϰāϞ āĻāϰ āϰাāĻāύাāĻে āĻŦāϞāϞ, āϝāĻĻি āϏে āĻļāĻŦ্āĻĻ āĻāϰে āϤāĻŦে āϏে āϤাāĻে āĻুāϞি āĻāϰে āĻšāϤ্āϝা āĻāϰāĻŦে।
āĻĒāϰে āϤাঁāϰ āϏাāĻĨে āĻāĻĨা āĻŦāϞে āϰাāĻāύা āĻাāύāϤে āĻĒাāϰে āϏে āĻāϏāϞে āĻাāϤিāϤে āĻāĻāĻāύ āϏুāĻāϏ āύাāĻāϰিāĻ āĻāĻŦং āĻŦেāϤāύāĻোāĻী āĻĒāϞাāϤāĻ āϏাāϰ্āĻŦিā§াāύ āϏৈāύ্āϝ। āϤাঁāϰ āύাāĻŽ āĻŦ্āϞাāύāĻļāϞি (Bluntschli)। āϞোāĻāĻি āϤাāĻে āĻাāύাāϞো āϏে āĻুāĻŦāĻ āĻ্āϞাāύ্āϤ āĻ āĻ্āώুāϧাāϰ্āϤ। āϰাāĻāύা āϏāĻŦāĻেā§ে āĻŦিāϏ্āĻŽিāϤ āĻšāϞ āϝāĻāύ āĻĻেāĻāϞ āϏে āϝুāĻĻ্āϧ āύিā§ে āϤাঁāϰ āĻŽাāĻে āĻোāύ āĻāϰ্āĻŦ āύেāĻ āĻŦāϰং āϏে āĻŦুāϞāĻেāϰিā§াāύ āĻŦাāĻšিāύীāϰ āĻšāϤ্āϝাāϝāĻ্āĻেāϰ āĻšাāϤ āĻĨেāĻে āĻĒাāϞিā§ে āĻŦেāĻে āĻāϏেāĻে āĻŦāϞে āĻāύāύ্āĻĻিāϤ। āĻāϏāĻŽā§ āϰাāĻāύাāϰ āĻŽা āĻ্āϝাāĻĨেāϰিāύ, āϤাāĻĻেāϰ āĻৃāϤ্āϝ āϞৌāĻা āĻ āĻāĻāĻāύ āĻŦুāϞāĻেāϰিā§াāύ āĻ āĻĢিāϏাāϰ āĻāϏে। āϰাāĻāύা āϤāĻāύ āϤাā§াāĻšুā§ো āĻāϰে āϤাāĻে āĻাāύাāϞাāϰ āĻাāϰ্āĻেāĻāύ āĻāϰ āĻĒিāĻāύে āϞুāĻাāϤে āϏাāĻšাāϝ্āϝ āĻāϰে। āϤাāϰা āĻāϰে āĻĸুāĻāϞে āĻŦুāϞāĻেāϰিā§াāύ āĻ āĻĢিāϏাāϰāĻি āϤাāĻে āĻাāύাā§ āϝে āĻāĻাāύে āĻāĻāĻāύ āĻĒāϞাāϤāĻ āϏাāϰ্āĻŦিā§াāύ āϏৈāύ্āϝāĻে āĻুāĻāϤে āĻāϏেāĻে।
āϏৈāύ্āϝāĻি āĻāĻ āĻŦাāϏাāϰ āĻāϏেāĻĒাāĻļেāĻ āĻোāĻĨাāĻ āϞুāĻিā§েāĻে। āϰাāĻāύা āĻাāύাā§ āϤাঁāϰ āĻāϰে āĻেāĻ āϞুāĻিā§ে āύেāĻ। āϤাāϰা āϰাāĻāύাāϰ āĻāĻĨা āĻŦিāĻļ্āĻŦাāϏ āĻāϰে āĻ āĻāϞে āϝাā§। āĻ্āϝাāĻĒ্āĻেāύ āĻŦ্āϞাāύāĻļāϞি āϤāĻāύ āϰাāĻāύাāϰ āĻাāĻে āĻাāĻŦাāϰ āĻাāĻāϞে āϰাāĻāύা āϤাāĻে āĻāĻāϞেāĻ āĻ্āϰিāĻŽ āĻেāϤে āĻĻেā§। āϰাāĻāύাāϰ āĻāύ্āϝে āĻāϰো āĻŦিāϏ্āĻŽā§ āĻ āĻĒেāĻ্āώা āĻāϰāĻিāϞ। āĻŦ্āϞাāύāĻļāϞি āĻāϏāϞে āϤাঁāϰ āĻĒāĻেāĻে āĻ ্āϝাāĻŽুāύিāĻļāύেāϰ āĻĒ্āϝাāĻেāĻেāϰ āĻিāϤāϰে āĻāĻāϞেāĻ āϰাāĻāϤ। āϤাāϰāĻĒāϰ āϏাāϰ্āĻিā§াāϏ āϏāĻŽ্āĻĒāϰ্āĻে āĻŦāϞāϤে āĻিā§ে āĻŦ্āϞাāύāĻļāϞি āĻাāύাā§ āĻāĻ āϞোāĻāĻা āĻāϏ্āϤ āĻāĻāĻা āύিāϰ্āĻŦোāϧ। āϏে āϤাঁāϰ āĻāĻĒাāϞāĻোāϰে āϝুāĻĻ্āϧে āĻিāϤেāĻে। āĻাāϰāĻŖ āϏেāĻĻিāύ āϏাāϰ্āĻŦিā§াāύ āϏেāύাāĻŦাāĻšিāύীāϤে āĻāĻāĻা āĻĻূāϰ্āĻāĻāύা āĻāĻেāĻিāϞ।
āĻুāϞāĻ্āϰāĻŽে āϏেāĻĻিāύ āϤাāĻĻেāϰ āĻŽেāĻļিāύāĻাāύেāϰ āĻুāϞিāϰ āĻŦāĻĻāϞে āĻ āύ্āϝ āĻ āϏ্āϤ্āϰেāϰ āĻুāϞি āϏāϰāĻŦāϰাāĻš āĻāϰা āĻšā§েāĻিāϞ। āĻ āĻĻুāϰ্āĻāĻāύাāĻি āύা āĻāĻāϞে, āϏাāϰ্āĻিā§াāϏ āĻ āϤাঁāϰ āϏেāύাāĻŦাāĻšিāύীāĻে āĻুāϞি āĻāϰে āĻাāĻāϰা āĻāϰে āĻĻেā§া āĻšāϤ। āĻāϰ āĻĒāϰāĻ āϰাāĻāύা āϤাāĻে (āϏাāϰ্āĻিā§াāϏāĻে) āϏাāĻšāϏী āĻŦāϞে āĻāĻ্āϝাā§িāϤ āĻāϰে।
āĻāϤ্āϤāϰে āĻŦ্āϞাāύāĻļāϞি āϤাāĻে āĻাāύাā§ āϏাāϰ্āĻিā§াāϏ āĻāĻāĻা āύিāϰ্āĻŦোāϧ, āĻ āĻĒেāĻļাāĻĻাāϰ āĻ āϞোāĻ āĻĻেāĻাāύো āĻাāĻে āĻŦিāĻļ্āĻŦাāϏী। āϰাāĻāύাāϰ āĻŦাāĻāĻĻāϤ্āϤ্āĻŦ āϏাāϰ্āĻিā§াāϏāĻে āϤিāϰāϏ্āĻাāϰ āĻāϰা āϏāϤ্āϤ্āĻŦেāĻ, āϏে āĻŦ্āϞাāύāĻļāϞিāĻে āϰাāϤেāϰāĻŦেāϞা āĻĒাāϞাāϤে āϏাāĻšাāϝ্āϝ āĻāϰāϤে āϰাāĻী āĻšā§। āĻŦ্āϞাāύāĻļāϞিāĻি āĻুāĻŽিā§ে āĻেāϞে āϰাāĻāύা āϤাঁāϰ āĻŽাā§েāϰ āĻাāĻে āϏাāĻšাāϝ্āϝেāϰ āĻāύ্āϝে āϝাā§। āϤাāϰা āĻĻুāĻāύ āϤাঁāϰ āĻুāĻŽে āĻāϰ āĻŦ্āϝāĻাāϤ āĻāĻাā§ āύা āĻাāϰāĻŖ āϏে āĻā§েāĻāĻĻিāύ āĻাāϞোāĻাāĻŦে āĻুāĻŽাāϤে āĻĒাāϰেāύি।
āύাāĻāĻেāϰ ⧍⧠āĻĒāϰ্āĻŦāĻি āĻļুāϰু āĻšā§ ā§§ā§Žā§Žā§Ŧ āϏাāϞেāϰ āĻļুāϰুāϤে āĻāĻāĻ āĻŦাā§িāϰ āĻŦাāĻাāύেāϰ āĻāĻāĻি āĻĻৃāĻļ্āϝে, āϝāĻĻিāĻ āϏে āϏāĻŽā§ āĻŦāϏāύ্āϤāĻাāϞ āĻļেāώ āĻšā§ে āĻিā§েāĻিāϞ। āĻāϏāĻŽā§ āϞৌāĻা āĻŦাā§িāϰ āĻāϰ āĻāĻ āĻĒুāϰুāώ āĻĒāϰিāĻাāϰāĻ āύিāĻোāϞাāϰ āϏাāĻĨে āϏāĻŽ্āĻĒāϰ্āĻ āĻāϰে। āϞৌāĻা āϤাāĻে āĻাāύাā§ āϝে, āύিāĻোāϞা āϝāϤāĻ āĻাāĻ āĻāϰুāĻ āύা āĻেāύো āϏে āĻোāύ āĻĻিāύ āĻĒāϰিāĻাāϰāĻেāϰ āĻāĻĒāϰে āĻিāĻু āĻšāϤে āĻĒাāϰāĻŦে āύা। āϞৌāĻাāϰ āĻāϰ āĻেā§ে āĻāĻ্āĻাāĻাāĻ্āĻ্āώা āϰā§েāĻে। āϞৌāĻা āĻāϰো āĻাāύাā§ āĻāύাāĻŦ āĻĒেāĻāĻāĻĢেāϰ āĻŦাā§িāϰ āĻ āύেāĻ āĻোāĻĒāύ āĻāĻŦāϰ āϤাঁāϰ āĻাāĻে āĻāĻে। āĻāĻŦাāĻŦে āύিāĻোāϞাāĻ āĻাāύাā§ āϏেāĻ āĻāĻ āĻŦাā§িāϰ āĻ āύেāĻ āĻোāĻĒāύ āĻāĻŦāϰ āĻাāύে, āĻিāύ্āϤু āϏে āĻāĻāύোāĻ āϤাঁāϰ āĻŽাāϞিāĻāĻে āĻāĻ āĻŦ্āϝāĻĒাāϰে āĻŦিāĻĒāĻĻে āĻĢেāϞে āϏুāϝোāĻ āύিāĻŦে āύা।
āϏেāϏāĻŽā§ āĻŦাā§িāϰ āĻŽাāϞিāĻ āĻāύাāĻŦ āĻŽেāĻāϰ āĻĒেāĻāĻāĻĢ (Major Petkoff) āϝুāĻĻ্āϧ āĻļেāώে āĻŦাā§ি āĻĢিāϰেāĻেāύ āĻāĻŦং āĻŦাā§িāϤেāĻ āĻ āĻŦāϏ্āĻĨাāύ āĻāϰāĻিāϞেāύ। āĻŽেāĻāϰ āĻĒেāĻāĻāĻĢ āϤাঁāϰ āϏ্āϤ্āϰীāĻে āĻাāύাā§ āϏেāύাāĻŦাāĻšিāύীāϤে āϏাāϰ্āĻিā§াāϏ āĻāϰ āĻāĻāύোāĻ āĻĒāĻĻোāύ্āύāϤি āĻšāĻŦে āύা। āĻাāϰāĻŖ āϏাāĻŽāϰিāĻ āĻৌāĻļāϞেāϰ āĻŦ্āϝাāĻĒাāϰে āϤাঁāϰ āĻāϏāϞে āĻোāύ āĻ্āĻাāύāĻ āύেāĻ। āĻāϰ āĻĒāϰেāϰ āĻĻৃāĻļ্āϝে āĻāĻŽāϰা āĻĻেāĻāϤে āĻĒাāĻ, āϏাāϰ্āĻিā§াāϏ āĻŽেāĻāϰ āĻĒেāĻāĻāĻĢেāϰ āĻŦাā§িāϤে āĻāϏে। āϰাāĻāύা āϤাāĻে āϏাāĻĻāϰেāĻ āĻ্āϰāĻšāύ āĻāϰে āύেā§ āĻাāϰāĻŖ āϏে āĻāĻāύো āϤাāϰ āĻ āύ্āϤāϰে āĻāĻāĻāύ āĻŦীāϰেāϰ āĻāϏāύে āĻāϏীāύ āĻিāϞ। āϏাāϰ্āĻিā§াāϏ āϤাāĻে āĻাāύাā§, āϏাāϰ্āĻিā§াāϏ āĻāϰ āĻāĻāύোāĻ āϏাāĻŽāϰিāĻ āĻŦাāĻšিāύীāϤে āĻĒāĻĻোāύ্āύāϤি āĻĒাāĻŦে āύা। āϰাāĻেāϰ āĻŦāĻļে āϤাāĻ āϏে āϤাঁāϰ āĻĒāĻĻ āϤ্āϝাāĻ āĻāϰেāĻে। āĻāϏāĻŽā§ āϏাāϰ্āĻিā§াāϏ āĻāϰ āĻŽেāĻāϰ āĻĒেāĻāĻāĻĢ āϝুāĻĻ্āϧ āĻĒāϰāĻŦāϰ্āϤী āĻāĻāĻি āĻāĻāύা āύিā§ে āĻāϞাāĻĒ āĻāϰে।
āĻāĻāύাāĻি āĻিāϞ āϝুāĻĻ্āϧ āĻļেāώে āĻāĻāĻāύ āϏুāĻāϏ āϏেāύাāĻে āύাāĻি āĻĻু’āĻāύ āĻŦুāϞāĻেāϰিā§াāύ āĻŽāĻšিāϞা āĻĻেāĻļ āĻেā§ে āĻĒাāϞাāϤে āϏাāĻšাāϝ্āϝ āĻāϰেāĻে। āϰাāĻāύা āϤাāĻĻেāϰ āĻāĻĨিāϤ āĻāĻāύা āĻļুāύে āĻŦুāĻāϤে āĻĒাāϰāϞ, āĻāĻ āĻĻুāĻ āĻŽāĻšিāϞা, āϏে āĻāϰ āϤাঁāϰ āĻŽা āĻ্āϝাāĻĨেāϰিāύ āĻাā§া āĻেāĻ āύā§। āϤāĻŦে āϏে āĻ āĻŦ্āϝāĻĒাāϰে āĻুāĻĒ āĻāϰে āĻĨাāĻāϞ।
āĻāĻ āϏুāϝোāĻে āϏাāϰ্āĻিā§াāϏ āϞৌāĻাāϰ āϏাāĻĨে āĻোāĻĒāύে āĻāĻĨা āĻŦāϞে। āϏে āϤাঁāϰ āϏাāĻĨে āĻিāύাāϞী āĻāϰা āĻļুāϰু āĻāϰāϞে āϞৌāĻা āϤাāĻে āĻাāύাā§ āϰাāĻāύা āĻšā§āϤো āϤাঁāϰ āĻĒ্āϰāϤি āĻāĻāύ āĻāϰ āĻŦিāĻļ্āĻŦāϏ্āϤ āύেāĻ। āĻļুāύে āϏাāϰ্āĻিā§াāϏ āĻ āĻŦাāĻ āĻšā§ে āϝাā§। āϤাāϰা āĻŽāĻ্āĻ āϤ্āϝাāĻ āĻāϰে। āĻāϰ āĻĒāϰেāϰ āĻĻৃāĻļ্āϝে āĻŽāĻ্āĻে āĻŽাāύে āĻŽেāĻāϰ āĻĒেāĻāĻāĻĢেāϰ āĻŦাā§িāϤে āĻāĻŽāϰা āĻŦ্āϞাāύāĻļāϞিāĻে āĻāϏāϤে āĻĻেāĻāϤে āĻĒাāĻ। āϏে āϝেāĻ āĻŽুāĻšূāϰ্āϤে āĻŦাā§িāϤে āĻĒ্āϰāĻŦেāĻļ āĻāϰে, āϤāĻāύ āĻŽেāĻāϰ āĻĒেāĻāĻāĻĢ āĻāϰ āϏাāϰ্āĻিā§াāϏ āĻŦাā§িāϰ āϞাāĻāĻŦ্āϰেāϰিāϤে āĻŦāϏে āϝুāĻĻ্āϧেāϰ āĻোāĻāĻļāϞ āύিā§ে āĻāϞোāĻāύা āĻāϰāĻিāϞ। āϞৌāĻা āϤাঁāϰ āĻাāĻে āĻŽিāϏেāϏ āĻ্āϝাāĻĨেāϰিāύāĻে āύিā§ে āĻāϏে। āĻŽিāϏেāϏ āĻ্āϝাāĻĨেāϰিāύ āϤাāĻে āĻĻেāĻে āĻিāύāϤে āĻĒাāϰে āĻিāύ্āϤু āĻāĻāĻা āĻŦিāώā§ে āĻā§ āĻĒাā§, āϤাঁāϰ āϏ্āĻŦাāĻŽী āĻāϰ āϏাāϰ্āĻিā§াāϏ āϝāĻĻি āϤাāĻে āĻĻেāĻে āĻāĻāĻে āĻĻেā§ āĻŦা āĻোāύ āϏāĻŽāϏ্āϝা āϏৃāώ্āĻি āĻāϰে। āĻŦ্āϞাāύāĻļāϞি āϤাāĻে āĻাāύাā§ āϏে āĻŽেāĻāϰ āĻĒেāĻāĻāĻĢেāϰ āĻোāĻāĻি āϤাāĻĻেāϰāĻে āĻĢেāϰāϤ āĻĻিāϤে āĻāϏেāĻিāϞ। āĻ āϏāĻŽā§ āϰাāĻāύা āϤাāĻে āĻĻেāĻে āĻুāĻŦāĻ āĻুāĻļি āĻšā§ āĻāĻŦং āĻāύāύ্āĻĻেāϰ āĻāϤিāĻļāϝ্āϝে āϤাāĻে “āĻāĻāϞেāĻ āĻ্āϰিāĻŽ āϏোāϞāĻাāϰ” āĻŦāϞে āĻিā§āĻাāϰ āĻāϰে āĻāĻ ে।
āύিāĻেāϰ āĻāϰে āĻĒ্āϰāĻŦেāĻļ āĻāϰাāϰ āϏāĻŽā§ āϤাঁāϰ āĻĒিāϤা āĻ āϏাāϰ্āĻিā§াāϏেāϰ āϏাāĻĨে āĻĻেāĻা āĻšā§ āĻāĻŦং āĻিā§āĻাāϰ āĻāϰাāϰ āĻাāϰāĻŖ āĻšিāϏেāĻŦে āĻŦāϞে āϏে āĻāϏāϞে āĻāĻāĻি āĻāĻāϞেāĻ āĻĻিā§ে āĻāĻāĻāύ āϏৈāύ্āϝেāϰ āĻāĻৃāϤি āϤৈāϰী āĻāϰেāĻিāϞ āϝেāĻা āĻ āϏাāĻŦāϧাāύে āύিāĻোāϞা āĻেāĻ্āĻে āĻĢেāϞেāĻিāϞ। āĻŽেāĻāϰ āĻĒেāĻāĻāĻĢ āĻ āϏাāϰ্āĻিā§াāϏেāϰ āϏাāĻĨে āĻŦ্āϞাāύāĻļāϞিāϰ āĻĻেāĻা āĻšāϞে āϤাāϰা āϤাāĻে āĻিāύāϤে āĻĒাāϰে āĻাāϰāĻŖ āϝুāĻĻ্āϧেāϰ āĻŽā§āĻĻাāύে āĻ āĻļাāύ্āϤি āĻুāĻ্āϤিāϰ āϏāĻŽā§ āϤাāĻে āϤাāϰা āĻĻেāĻেāĻিāϞ। āĻŽেāĻāϰ āĻĒেāĻāĻāĻĢ āϤাāĻে āϤাঁāϰ āĻŦাā§িāϤে āĻĨাāĻāϤে āĻŦāϞেāύ।
āĻļেāώ āĻ āĻ্āĻে,āĻŦিāĻিāύ্āύ āϧāϰāύেāϰ āĻāϤ্āϤেāĻāύাāϰ āĻĒ্āϰāĻাāĻļ āĻ āϏেāĻুāϞো āĻĒ্āϰāĻļāĻŽāύ āĻāĻŽāϰা āĻĻেāĻāϤে āĻĒাāĻ। āĻŽেāĻāϰ āĻĒেāĻāĻāĻĢ āϤাঁāϰ āĻĒুāϰāύো āĻোāĻāĻি āϤাāĻĻেāϰ āĻ্āϞāĻেāĻেāϰ āĻŽাāĻে āĻুঁāĻে āύা āĻĒেā§ে āϤাঁāϰ āϏ্āϤ্āϰীāϰ āĻাāĻে āϏেāĻা āϏāĻŽ্āĻĒāϰ্āĻে āĻাāύāϤে āĻাāĻāϞে āϤাঁāϰ āϏ্āϤ্āϰী āϤাāĻে āĻŦāϞে āϏেāĻাāϤো āϏেāĻাāύেāĻ (āύীāϞ āĻ্āϞāĻেāĻে) āĻāĻে। āϤāĻāύ āϏে āϤাঁāϰ āϏ্āϤ্āϰীāϰ āϏাāĻĨে āĻāĻāĻি āĻāĻšāύা āĻĻিāĻŦেāύ āĻŦāϞে āĻŦাāĻি āϧāϰেāύ। āϤাঁāϰ āϏ্āϤ্āϰী āϤāĻāύ āύিāĻোāϞাāĻে āĻĻিā§ে āύীāϞ āĻ্āϞāĻেāĻ āĻĨেāĻে āĻোāĻāĻি āĻāύাā§। āĻāϤে āĻŽেāĻāϰ āĻĒেāĻāĻāĻĢ āĻিāĻুāĻা āĻšāϤāĻŦুāĻĻ্āϧি āĻšā§ āĻাāϰāĻŖ āϤিāύি āĻāĻāĻু āĻāĻেāĻ āϏেāĻাāύে āϏেāĻা āĻুঁāĻে āĻĒাāύāύি।
āύাāĻāĻেāϰ ⧍⧠āĻĒāϰ্āĻŦ āĻāϰ āĻļুāϰুāϤেāĻ āĻĻেāĻা āϝাā§ āϏেāύাāĻŦাāĻšিāύীāϰ āĻিāĻু āĻĒāϰিāĻāϞ্āĻĒāύা āϤৈāϰী āĻ āĻ āύ্āϝাāύ্āϝ āϞেāĻাāϞেāĻিāϰ āĻাāĻে āĻŽেāĻāϰ āĻĒেāĻāĻāĻĢāĻে āĻŦ্āϞাāύāĻļāϞি āϏাāĻšাāϝ্āϝ āĻāϰে। āĻāϰ āĻŽাāϧ্āϝāĻŽে āϏে āĻŦ্āϞাāύāĻļāϞিāϰ āϏেāύাāĻŦাāĻšিāύী āĻ āϝুāĻĻ্āϧ āϏāĻŽ্āĻĒāϰ্āĻে āĻĻāĻ্āώāϤা, āϝোāĻ্āϝāϤা āĻ āĻāĻীāϰ āĻ্āĻাāύেāϰ āĻĒāϰিāĻā§ āϞাāĻ āĻāϰেāύ। āĻŽেāĻāϰ āĻĒেāĻāĻāĻĢ āĻ āϏাāϰ্āĻিā§াāϏ āĻāϞে āĻেāϞে (āĻŦ্āϞাāύāĻļāϞি āĻĢিāϰে āĻāϏাāϰ āĻĒāϰ) āĻāĻ āĻĒ্āϰāĻĨāĻŽāĻŦাāϰেāϰ āĻŽāϤ āĻāϞাāĻĻাāĻাāĻŦে āϰাāĻāύা āĻ āϏে āĻāĻĨা āĻŦāϞাāϰ āϏুāϝোāĻ āĻĒাā§। āϰাāĻāύা āϤাঁāϰ āϏাāĻĨে āĻাāύ āĻāϰা āĻļুāϰু āĻāϰে। āϤাāĻে āĻŦāϞে āϝে, āϤাঁāϰ āĻāύ্āϝে āϤাāĻে āĻĻুāĻ āĻĻুāĻ āĻŦাāϰ āĻŽিāĻĨ্āϝা āĻŦāϞāϤে āĻšā§েāĻে, āϝা āϤাāĻে āύৈāϤিāĻāĻাāĻŦে āĻāĻšāϤ āĻāϰেāĻে।
āĻ্āϝাāĻĒ্āĻেāύ āĻŦ্āϞাāύāĻļāϞি āϤাঁāϰ āĻ āĻিāύ⧠āĻĻেāĻে āĻāϰ āϤাāĻে āĻŦāϞে āϝে āϏেāĻ āĻĒ্āϰāĻĨāĻŽ āĻŦ্āϝাāĻ্āϤি āϝে āϤাঁāϰ āĻāĻ āĻāĻ āĻ āĻিāύ⧠āĻĻেāĻেāĻে। āĻŦ্āϞাāύāĻļāϞি āϤাāĻে āĻৃāĻŖা āĻāϰে āĻিāύা āĻāĻা āĻেāĻŦে, āϰাāĻāύা āϤāĻāύ āύাāĻāĻীā§ āĻāĻāϰāĻŖ āĻļুāϰু āĻāϰে। āĻ āύ্āϝāĻĻিāĻে āϤাঁāϰ āĻāĻ āĻāύিāϤাāĻĒূāϰ্āĻŖ āĻāĻāϰāĻŖ āĻĻেāĻে āĻŦ্āϞাāύāĻļāϞি āĻŽুāĻ্āϧ āĻšā§ āĻিāύ্āϤু āĻāĻাāĻে āϤেāĻŽāύ āĻুāϰুāϤ্āĻŦ āĻĻেā§ āύা। āϰাāĻāύা āϤাঁāϰ āĻাāĻে āϤাঁāϰ āύিāĻেāϰ āĻāĻŦি, āϝেāĻাāϤে “To my chocolate cream soldier” āϞিāĻে āϏে āϤাঁāϰ āĻĒিāϤাāϰ āĻোāĻেāϰ āĻĒāĻেāĻে āĻāϰে āĻĻিā§ে āĻĻিā§েāĻিāϞ, āϏেāĻা āϏāĻŽ্āĻĒāϰ্āĻে āĻাāύāϤে āĻাā§। āĻŦ্āϞাāύāĻļāϞি āϤাāĻে āĻাāύাā§ āϝে, āϝুāĻĻ্āϧেāϰ āϏāĻŽā§ āϏে āϤাঁāϰ āĻĒিāϤাāϰ āĻোāĻ āĻāĻ āĻŦ্āϝāĻŦāϏাā§ীāϰ āĻাāĻে āĻŦāύ্āϧāĻ āϰেāĻেāĻিāϞ। āϏেāĻাāύে āĻšā§āϤো āĻোāύāĻাāĻŦে āϏেāĻা āĻšাāϰিā§ে āĻিā§েāĻিāϞ। āĻŦ্āϞাāύāĻļāϞিāϰ āĻাāĻে āϰাāĻāύা āĻিāĻুāĻা āĻŽāύঃāĻ্āώুāĻŖ্āĻŖ āĻšāϞ। āĻāĻ āϏāĻŽā§ āĻŦ্āϞাāύāĻļāϞিāϰ āĻাāĻে āĻেāϞিāĻ্āϰাāĻŽে āĻāĻŦāϰ āĻāϏে āϝে āϤাঁāϰ āĻĒিāϤা āĻŽৃāϤ্āϝুāĻŦāϰāύ āĻāϰেāĻে āĻ āϏে āϤাঁāϰ āĻŦাāĻŦাāϰ āϏāĻŽ্āĻĒāϤ্āϤি āĻ ā§ŦāĻি āĻšোāĻেāϞেāϰ āĻāϤ্āϤāϰাāϧিāĻাāϰী āĻšā§েāĻে।
Arms and the man āĻŽāĻ্āĻ āĻĨেāĻে āϤাāϰা āĻāϞে āĻেāϞে āϞৌāĻা āĻ āϏাāϰ্āĻিā§াāϏ āĻŽāĻ্āĻে āĻĒ্āϰāĻŦেāĻļ āĻāϰে। āϞৌāĻা āĻ āϏাāϰ্āĻিā§াāϏেāϰ āĻ āĻিāϏাāϰ āĻāϞāϤে āĻĨাāĻে। āϞৌāĻা āϤাāĻে āĻাāύাā§ āϰাāĻāύা āĻāϏāϞে āϏাāϰ্āĻিā§াāϏāĻে āĻাāϞোāĻŦাāϏে āύা āĻŦāϰং āϏে āĻŦ্āϞাāύāĻļāϞিāĻে āĻাāϞোāĻŦাāϏে। āĻāĻা āĻļুāύে āϏাāϰ্āĻিā§াāϏেāϰ āĻŽাāĻে āĻĒৌāϰুāώāϤ্āϤ্āĻŦ āĻেāĻে āĻāĻ ে āĻāĻŦং āϏে āĻŦ্āϞাāύāĻļāϞিāĻে āĻĻ্āĻŦāύ্āĻĻāϝুāĻĻ্āϧেāϰ āĻāĻšāĻŦাāύ āĻāϰে। āϰাāĻāύা āϤাāϰ āϏাāĻĨে āϤāϰ্āĻ āĻāϰে āĻ āĻŦāϞে āϝে āϏে āϞৌāĻাāĻে āĻā§িā§ে āϧāϰāϤে āĻĻেāĻেāĻে। āĻŦ্āϞাāύāĻļāϞি āϤাāĻে āĻাāύাā§ āϏে āϤাāĻে āϏেāĻĻিāύ āĻ āϏ্āϤ্āϰেāϰ āĻŽুāĻেāĻ āĻāϰে āĻĒ্āϰāĻŦেāĻļ āĻāϰāϤে āĻĻিā§েāĻিāϞ। āϤāĻāύ āϏাāϰ্āĻিā§াāϏ āϤাঁāϰ āĻĻ্āĻŦāύ্āĻĻāϝুāĻĻ্āϧেāϰ āĻāĻ্āĻা āϤ্āϝাāĻ āĻāϰে। āϰাāĻāύা āĻাāύাā§ āϝেāĻĻিāύ āϤাāĻে āĻĒ্āϰāĻĨāĻŽ āĻĻেāĻেāĻিāϞ, āϏেāĻĻিāύ āĻĨেāĻেāĻ āϏে āĻŦ্āϞাāύāĻļāϞিāĻে āĻাāϞোāĻŦাāϏে। āĻāĻা āĻেāύে āĻŽেāĻāϰ āĻĒেāĻāĻāĻĢ āĻিāĻুāĻা āĻŦিāϰāĻ্āϤ āĻšāϞ।
āĻāĻĻিāĻে āϏাāϰ্āĻিā§াāϏāĻ āϤাঁāϰ āϞৌāĻাāϰ āĻĒ্āϰāϤি āĻাāϞোāĻŦাāϏা āĻĒ্āϰāĻাāĻļ āĻāϰে āĻĻেā§। āϤাঁāϰ āĻšাāϤ āϧāϰে āϤাāĻে āĻŦিā§েāϰ āĻĒ্āϰāϏ্āϤাāĻŦ āĻĻেā§। āϞৌāĻাāĻ āĻুāĻļি āĻšā§ে āϤাāϤে āϰাāĻী āĻšā§ে āϝাā§। āύিāĻোāϞা āϤāĻāύ āϤাঁāϰ āϞৌāĻাāϰ āϏাāĻĨে āϤাāϰ āĻŦাāĻāĻĻাāύ (Engagement) āϤ্āϝাāĻ āĻāϰে। āĻŦ্āϞাāύāĻļāϞি āύিāĻোāϞাāĻে āϤাঁāϰ āĻšোāĻেāϞে āĻাāĻāϰি āĻĻেāĻŦেāύ āĻŦāϞে āĻā§াāĻĻা āĻĻেā§। āĻ্āϝাāĻĒ্āĻেāύ āĻŦ্āϞাāύāĻļāϞি āϰাāĻāύাāĻে āĻŦিā§েāϰ āĻĒ্āϰāϏ্āϤাāĻŦ āĻĻেā§। āĻŽেāĻāϰ āĻĒেāĻāĻāĻĢ āϝāĻāύ āĻাāύāϤে āĻĒাāϰেāύ āĻŦ্āϞাāύāĻļāϞি āϤাঁāϰ āĻĒিāϤাāϰ āĻাāĻ āĻĨেāĻে āĻŦিāĻļাāϞ āϏāĻŽ্āĻĒāϤ্āϤিāϰ āĻāϤ্āϤāϰাāϧিāĻাāϰী āĻšā§েāĻে, āϤāĻāύ āϤিāύিāĻ āĻāϰ āĻĻেāϰি āύা āĻāϰে āϰাāĻী āĻšā§ে āϝাāύ। āĻŦ্āϞাāύāĻļāϞি āϏāĻŦāĻিāĻু āĻুāĻিā§ে āύেā§াāϰ āĻāύ্āϝে āĻĻুāĻ āϏāĻĒ্āϤাāĻšেāϰ āϏāĻŽā§ āύিā§ে āύিāĻেāϰ āĻŦাā§ি āĻĢিāϰে āĻāϏে।
English Summary (āĻংāϰেāĻি 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.
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