Sergius explains to Louka that he finds his romantic pretensions with Raina exhausting. Sergius’ romanticism is making him miserable. The pure and unattainable ideals he aspires to only ensure that he fails. These defeats accumulate, creating a gap between his ideas of what a romantic relationship should be and his actual actions and desires. His relationship with Raina is more akin to a performance than an actual romance. Sergius seeks to escape the pressures of his engagement with the more grounded Louka. Likewise, Raina is fatigued by having to put on a constant romantic performance and is drawn to the Swiss captain. The couple only finds happiness and comfort once they abandon their pretentious notions of higher love and embrace more pragmatic relationships with practical people: Louka and Bluntschli.
“It is not much of a library”. Stage direction, Act III p. 45 The Petkoffs' class pretentions become a running joke throughout Arms and the Man. Each family member proudly speaks of their …show more content…
Her posturing and manufactured indignation are only a façade; by refusing to fall victim to her deceits, Bluntschli is able to see Raina as she really is. Raina retorts that Bluntschli is the first man who does not take her seriously, but the captain counters her, saying he is the first man who does take her seriously. Bluntschli is somewhat charmed by her performance but realizes that it is only that: a performance, and he is attracted to what she keeps hidden. This moment represents the climax of a trend that has been building since the Swiss captain and Bulgarian lady met: Bluntschli confronts Raina’s romantic delusions and deflates them. These confrontations generate intimacy and mutual attraction. After Bluntschli’s accusation of posturing Raina admits her predilection for being theatrical and engages in perhaps the most honest and self-reflective conversation of her young
“It is not much of a library”. Stage direction, Act III p. 45 The Petkoffs' class pretentions become a running joke throughout Arms and the Man. Each family member proudly speaks of their …show more content…
Her posturing and manufactured indignation are only a façade; by refusing to fall victim to her deceits, Bluntschli is able to see Raina as she really is. Raina retorts that Bluntschli is the first man who does not take her seriously, but the captain counters her, saying he is the first man who does take her seriously. Bluntschli is somewhat charmed by her performance but realizes that it is only that: a performance, and he is attracted to what she keeps hidden. This moment represents the climax of a trend that has been building since the Swiss captain and Bulgarian lady met: Bluntschli confronts Raina’s romantic delusions and deflates them. These confrontations generate intimacy and mutual attraction. After Bluntschli’s accusation of posturing Raina admits her predilection for being theatrical and engages in perhaps the most honest and self-reflective conversation of her young