“Cultural Hegemony and Class Conflict in

Shaw’s Arms and the Man: A Gramscian

Approach”
Names: Farkhanda Bibi and Bushra Farman

Supervisor: Madam Iffat Nazir

Department: English

ISLAMABAD MODEL COLLEGE FOR GIRLS (P.G) F-7/4 ISLAMABAD

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 Table of Contents

1. Abstract

[Link] 1

1.1 Introduction

1.2 Research Problem

1.3 Research Significance

1.4 Research Questions

1.5 Research Objectives

3. Chapter 2

 Literature Review

4. Chapter 3

 Methodology

5. References

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ABSTRACT
This study employs Antonio Gramsci’s theory of cultural hegemony to examine how George Bernard
Shaw’s play, Arms and the Man, critiques the romanticized depiction of war and heroism by the ruling
class. Composed in 1894, the play illustrates Shaw’s critique of the dominant cultural ideals that glorify
military honor and patriotic bravery, which are propagated by the elite to legitimize their power. By
situating the narrative within the relatively minor context of the Serbo-Bulgarian War, Shaw avoids the
grandeur typically associated with larger European conflicts, instead revealing the absurdities and grim
realities of warfare. This context enables Shaw to challenge conventional narratives of heroism,
questioning the societal values that portray war as noble and soldiers as infallible [Link] the
juxtaposition of characters such as Sergius Saranoff and Captain Bluntschli, Shaw highlights the
superficial nature of the elite's beliefs regarding warfare. Sergius represents the aristocratic ideal of the
heroic soldier, motivated by a quest for honor and social acclaim, whereas Bluntschli, a practical and
experienced soldier, views war primarily as a struggle for survival rather than an act of heroism.
Bluntschli’s pragmatic perspective undermines the romantic ideals that Sergius represents, exposing the
inconsistencies in the ruling class's depiction of heroism. This character interplay resonates with
Gramsci's theory, which asserts that the elite influence cultural values to sustain ideological dominance,
promoting narratives that obscure the realities of power and privilege. Shaw’s satire serves as a
mechanism for deconstructing the cultural myths associated with heroism, exposing the ways in which
these narratives align with the interests of the elite. By mocking the exaggerated ideals of honor and
bravery held by the characters, Shaw critiques the manner in which prevailing cultural narratives
reinforce the existing social order. This element of the play underscores Gramsci’s concept of
hegemony, illustrating how the values of the ruling class subtly infiltrate society to maintain class
divisions. Through the use of humor and irony, Shaw encourages audiences to reassess the myths they
embrace regarding war and heroism, positioning these ideals as tools for sustaining elite power rather
than as intrinsic [Link] a Gramscian perspective, this analysis provides an innovative
viewpoint on Arms and the Man that transcends conventional discussions of Shaw’s socialism or realism.
The examination highlights how the play critiques not only the glorification of war but also the broader
ideological structures that uphold class hierarchies

Keywords: George Bernard Shaw, Arms and the Man, Antonio Gramsci, cultural hegemony, ideology,
war, satire, heroism.

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Chapter 1

1.1 INTRODUCTION

BACKGROUND

The context of George Bernard Shaw’s play Arms and the Man is intricately linked to the cultural,
political, and social landscapes of late 19th-century Europe, a time characterized by swift industrial
growth, rising nationalism, and the formation of empires. Composed in 1894, the play emerged during a
phase when Europe was still healing from the Franco-Prussian War (1870-1871) and grappling with
various nationalistic tensions, such as the Serbo-Bulgarian War (1885), which serve as the backdrop for
Shaw's narrative. As a playwright known for his incisive social commentary, Shaw utilized this
environment to critique the dominant cultural narratives surrounding warfare, heroism, and national
identity. This era witnessed a surge in militaristic enthusiasm, largely propagated by political leaders and
the elite, who championed war as a noble and glorious endeavor.

Throughout the 19th century, the notion of war as a dignified pursuit was widely embraced, particularly
among the European aristocracy. Nationalism, which had gained considerable traction after the
Napoleonic Wars, became deeply embedded in the cultural and political identity of European nations.
Conflicts were frequently portrayed as essential for safeguarding national honor, with soldiers
celebrated as heroic figures who epitomized the ideals of courage, patriotism, and selflessness. This
glorification of warfare was evident in the literature, art, and political discourse of the time, where
soldiers were depicted as valiant defenders of their nations. These ideals were, in many respects, part of
the cultural hegemony that Antonio Gramsci would later articulate in his theories, wherein the ruling
class sustained its dominance by influencing societal values and ideologies.

Shaw's choice to concentrate on the Serbo-Bulgarian War holds considerable importance. This conflict,
in contrast to the more extensive wars involving European powers, was relatively minor and lacked the
grand, idealized battles often celebrated in cultural representations of warfare. The war, which occurred
between Serbia and Bulgaria over territorial disagreements, was brief and devoid of the romantic
splendor associated with conflicts such as the Franco-Prussian War. By selecting this backdrop, Shaw
subtly challenges the perception that all wars are noble and magnificent, revealing the arbitrary and
frequently absurd characteristics of military confrontations. His depiction of the war in Arms and the
Man eschews the typical grandeur found in war narratives, instead highlighting the mundane and at
times ludicrous elements of warfare, such as the soldiers’ practical concerns regarding their survival.

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The dominant cultural perspectives on war during the late 19th century were influenced by the ruling
class, which had a vested interest in perpetuating these ideals. Gramsci’s theory of cultural hegemony
elucidates how the ruling class maintains control not only through political and economic power but also
by shaping the cultural and ideological environment. By endorsing specific values—such as the
glorification of warfare and the veneration of military heroes—the ruling class legitimizes its authority
and stifles opposition. Within this framework, characters like Sergius Saranoff, one of the central figures
in Arms and the Man, embody the romanticized ideal of the war hero that aligns with the interests of
the ruling elite. However, his inflated sense of bravery and heroism is ultimately exposed as superficial
and flawed, serving as a critique of the prevailing cultural narrative.

Captain Bluntschli, the other central character, presents a more practical and realistic viewpoint on
warfare. As a professional soldier, Bluntschli approaches conflict with a focus on practicality rather than
romantic ideals. His character serves as a foil to the glorified image of the heroic soldier, reflecting
Shaw's critique of the romanticized perception of war. Bluntschli’s perspective, which emphasizes
survival over honor, counters the prevailing cultural ideals propagated by the ruling elite. Through the
juxtaposition of Sergius and Bluntschli, Shaw dismantles the myths surrounding heroism and valor,
exposing them as instruments employed by the ruling class to sustain control and endorse militarism.

Shaw's employment of satire in Arms and the Man further enhances his critique of the glorified concepts
of war. This literary device enables Shaw to highlight the absurdities embedded in the cultural narratives
about war without directly challenging the audience’s entrenched beliefs. By ridiculing his characters’
exaggerated convictions regarding warfare and heroism, Shaw prompts the audience to reevaluate the
legitimacy of these ideals. This method resonates with Gramsci’s assertion that cultural texts can either
uphold or contest dominant ideologies. In Arms and the Man, Shaw wields satire as a means of
resistance against the cultural hegemony that portrays war as a noble and essential pursuit.

The play serves as a vehicle for Shaw’s extensive critique of the societal frameworks that sustain
inequality and reinforce the existing order. As a socialist affiliated with the Fabian Society, Shaw
expressed profound discontent with the class system and the tactics employed by the ruling elite to
manipulate cultural and political narratives for the preservation of their power. His works frequently
expose the contradictions and injustices that are intrinsic to capitalist and imperialist societies. In "Arms
and the Man," Shaw broadens this critique to encompass military conflict, revealing how the
glorification of warfare benefits the interests of the elite while ordinary soldiers and civilians suffer the

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repercussions. Shaw posits that the romanticization of war is part of a larger cultural narrative that
legitimizes the authority of the ruling class.

Additionally, Shaw’s depiction of female characters in the play, especially Raina Petkoff, introduces
another dimension to his critique of cultural dominance. Initially, Raina embraces the romanticized
notions of war and heroism, but she experiences a significant transformation as she confronts the harsh
realities of conflict and the pragmatic views of Bluntschli. Her character development mirrors the
broader societal shift towards questioning and rejecting the prevailing ideologies imposed by the ruling
class. By the conclusion of the play, Raina’s disillusionment with the concepts of heroism and valor
signifies a repudiation of the cultural norms that had previously influenced her perspective.

The cultural context of Arms and the Man is significantly enhanced by Shaw's involvement in the wider
intellectual and political movements of his era. As a proponent of social reform and a critic of both
capitalism and imperialism, Shaw's writings frequently illustrate the conflicts between the individual and
society, as well as the tensions among various social classes. In Arms and the Man, these conflicts
manifest on the battlefield, where the characters' personal experiences expose the larger social and
political dynamics at play. Shaw's work serves not only as a critique of warfare but also as an
examination of how cultural narratives are shaped and upheld by those in positions of authority.

In essence, the foundation of Arms and the Man is intertwined with the late 19th-century European
themes of militarism, nationalism, and class relations. Through his employment of satire and contrasting
characters, Shaw critiques the glorified notions of war and heroism that benefit the ruling elite. By
utilizing Gramsci’s theory of cultural hegemony, this analysis aims to reveal how Shaw’s play contests
the prevailing cultural narratives of his time, exposing them as instruments of manipulation that sustain
existing power structures.

1.2 RESEARCH PROBLEM

The dominant narratives of war and heroism often serve the interests of the ruling class by promoting
cultural hegemony, as described by Antonio Gramsci. George Bernard Shaw’s Arms and the Man
critiques these romanticized ideals, using satire to reveal the superficiality of military heroism. Through
characters like Captain Bluntschli, who embodies a more pragmatic view of war, Shaw exposes the myth
of noble warfare upheld by the upper class, critiquing both the glorification of war and the social
structures that benefit from [Link] applying Gramsci’s theory, this study explores how Shaw’s play acts as
resistance against dominant cultural narratives. Shaw deconstructs the ruling class's ideological control

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by contrasting the flawed, romanticized hero, Sergius Saranoff, with the realistic Bluntschli. This
counter-narrative encourages the audience to question accepted ideals, revealing how cultural norms
shape perceptions of war and power, ultimately challenging the cultural dominance of the ruling class.

1.3 RESEARCH SIGNIFICANCE

This study enhances the comprehension of literature as a significant instrument for cultural critique,
particularly in its depiction of warfare and societal conventions. Through the lens of Gramsci's theory of
cultural hegemony, an analysis of George Bernard Shaw's Arms and the Man uncovers the capacity of
literature to contest prevailing ideologies and challenge the glorification of conflict. Shaw's satirical
methodology offers a discerning perspective that deconstructs the myths of heroism and nationalism,
which are frequently employed by the ruling elite to sustain their [Link] research underscores
the vital role of literature in promoting critical engagement with cultural narratives, presenting an
alternative viewpoint that opposes hegemonic dominance. By emphasizing the ability of art to
undermine prevailing ideologies, this study advocates for further investigation into the relationship
between literary works and social theory, thereby paving the way for new insights into how cultural
texts can provoke profound societal contemplation and resistance to oppressive norms.

1.4 RESEARCH QUESTIONS

[Link] does Shaw's portrayal of war in Arms and the Man challenge prevailing cultural ideologies?

2. In what ways does Gramsci's concept of cultural hegemony illuminate the class struggles depicted in
the play

3. How do class structures and social norms intersect in the portrayal of conflict within the play?

1.5 RESEARCH OBJECTIVES

[Link] analyze the dominant ideologies of war and romanticism in Arms and the Man.

[Link] explore the class tensions and cultural critiques presented through Shaw's characters and narrative.

[Link] apply Gramsci’s theory of cultural hegemony to understand the societal implications of Shaw’s
work.

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Chapter 2

Literature Review

George Bernard Shaw (26 July 1856 – 2 November 1950), who preferred to be called Bernard Shaw, was
an Irish playwright, critic, polemicist, and political activist. His impact on Western theatre, culture, and
politics spanned from the 1880s until his passing and continued thereafter. Born in Dublin, Shaw
relocated to London in 1876, where he initially encountered challenges in establishing himself as a
writer and novelist while undergoing a rigorous self-education process. By the mid-1880s, he had gained
recognition as a theatre and music critic and became a key figure in the Fabian Society, known for his
influential pamphlets. Inspired by Henrik Ibsen, Shaw sought to bring a new realism to English-language
drama, utilizing his plays to convey political, social, and religious themes. His stature as a dramatist was
firmly established in the early twentieth century, marked by a series of both critical and popular
triumphs, particularly with his play Arms and the Man in 1894.

Some of his writings include:

1. Man and Superman (1903)

2. Pygmalion (1913)
3. Major Barbara (1905)
4. Saint Joan (1923)

Shaw's play Arms and the Man was penned in 1894, during a pivotal time characterized by escalating
class conflicts and increased scrutiny of nationalistic sentiments, which were frequently utilized to
rationalize the actions of the ruling elite. This era witnessed significant confrontations, including the
Second Boer War (1899–1902) and the ensuing World War I (1914–1918), both of which profoundly
affected public perceptions of warfare. The realities of these conflicts prompted a transformation in
public sentiment, moving away from romanticized notions of heroism towards a more skeptical and
critical understanding of military honor. As a prominent social commentator, Shaw leveraged his work to
investigate and critique these evolving viewpoints, as well as to analyze the influence of class interests in
sustaining idealized narratives surrounding war.

The Second Boer War, which pitted the British Empire against the South African Boer republics, became
infamous for its guerrilla tactics and, more controversially, the British implementation of concentration
camps. This conflict played a crucial role in British history, as it challenged the prevailing narrative of

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military valor and superiority that the ruling classes promoted to uphold national pride and social order.
As tensions escalated in the lead-up to World War I, public doubt regarding the romanticized ideals of
honor and glory in warfare intensified, revealing a harsher and more stratified reality often obscured by
cultural dominance. This backdrop significantly influenced Shaw's perspective in Arms and the Man,
where he sought to unravel not only the glorified images of war but also the underlying class dynamics
that contributed to them.

Shaw criticized the romanticization of warfare as an ideology that reinforced class distinctions, depicting
war as a noble pursuit where soldiers are valorous figures fighting for glory. This idealized perspective,
propagated by governments, the media, and cultural institutions, preserved the existing social order and
advanced the interests of the elite. In "Arms and the Man," Shaw confronts these notions directly
through characters such as Captain Bluntschli, a professional soldier who views war with a pragmatic
lens, contrasting sharply with characters like Raina Petkoff, who initially embraces romanticized notions
of heroism and combat—views shaped by her upper-class background and her detachment from the
harsh realities of war.

Shaw’s satirical method is pivotal to his critique, as he presents Raina and her fiancé Sergius, who
initially reflect romantic ideals about warfare, partly sustained by their privileged social standing.
Sergius, a member of the ruling class and an aspiring military hero, "achieves" victory in battle through
sheer luck rather than skill, underscoring the gap between true bravery and romanticized myth, while
revealing how class privilege often shapes perceptions of heroism. In contrast, Bluntschli, a mercenary
from a lower social class, ridicules these romantic ideals, perceiving war as a struggle for survival rather
than a quest for honor. This contrast not only reveals the misconceptions inherent in the romantic view
of warfare but also the class-based ideologies that sustain such beliefs.

Shaw’s portrayal of war is firmly rooted in reality, presenting a stark contrast to the romanticized image
promoted by the elite, who seldom confront the brutal realities of combat. The character of Bluntschli,
who prioritizes practicality and carries chocolates instead of ammunition, embodies Shaw's assertion
that war is devoid of glamour; it revolves around survival, often characterized by mundane and
undignified challenges. This unvarnished depiction serves as a subtle critique of the ruling classes, who
manipulate these myths to maintain their power and incite others to make sacrifices on their behalf. By
emphasizing these unromantic elements, Shaw highlights the harsh realities that the patriotic narratives
of the elite often obscure, exposing how class dynamics and cultural dominance sustain these illusions.

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Already existing work related to our work

1. Arms and the Man: The Problem of Symmetric Growth by Lewis Wolpert
2. Realism in Arms and the Man: A Comparative Study – Realism and Idealism by Dr. Shahzad
Ahmad Siddiqui
3. An Existential Reading of GB Shaw's Arms and the Man by Md. Ibrahim Khalil
4. Socialism in G.B Shaw's Arms and the Man: A Study of Realism and Idealism by Santanu Panda
5. Sexism or Gender Differentiation and Class Differentiation in George Bernard Shaw′s Arms and
the Man by Fatemeh Azizmohammadi

A Gramscian Approach offers a distinctive analytical perspective that sets it apart from the prevailing
scholarship on the play. This research uniquely emphasizes the concept of cultural hegemony as
articulated by Gramsci, investigating the mechanisms through which the ruling classes sustain
ideological dominance and perpetuate social hierarchies by idealizing war. Such an angle is notably
absent in other studies, which often overlook the examination of elite narratives surrounding war and
their role in upholding these social structures, as well as Shaw’s critique of these ideological frameworks
within the play.

This study's emphasis on class conflict further differentiates it from analyses that merely skim over social
or class-related issues. For example, while Santanu Panda’s exploration of socialism in Arms and the
Man touches on certain social themes, it fails to thoroughly investigate class struggle as a significant
factor influencing characters' views on heroism and war. Through a Gramscian lens, this research
explores how Arms and the Man challenges the class-based power dynamics that endorse romanticized
ideals, illustrating how the societal pressures of the era drive characters to either conform to or resist
these prevailing ideologies.

The application of the Gramscian framework of cultural hegemony also sets this research apart from
other methodologies such as realism, idealism, or existentialism, as demonstrated in the works of
Siddiqui and Khalil. Unlike these approaches, which tend to prioritize thematic or philosophical
interpretations, this study specifically scrutinizes how Shaw’s satire critiques the material interests of
the elite and the mechanisms through which class advantages are perpetuated by these romantic
notions. The analysis highlights the significance of class in upholding certain social norms, offering
insights into how power dynamics shape individual perceptions of war and heroism.

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Furthermore, the research extends beyond a mere examination of class distinctions, as briefly addressed
in Azizmohammadi’s investigation of gender and class roles. It delves into how Shaw critiques the
ideological foundations of class differences through the character of Bluntschli.

Karl Marx (1818–1883) was a German philosopher, economist, and political theorist best known for
developing the theory of Marxism, which critiques capitalism and advocates for a classless society.
Marx's works, particularly The Communist Manifesto and Das Kapital, focus on the struggles between
the bourgeoisie (capitalist class) and the proletariat (working class), emphasizing how the economic base
shapes society’s political and ideological structures. His ideas laid the foundation for modern socialism
and communism, influencing revolutions and shaping political thought throughout the 19th and 20th
centuries.

Antonio Gramsci (1891–1937) was an Italian Marxist philosopher, journalist, and politician known for his
theory of cultural hegemony. He expanded on Marxist ideas by arguing that the ruling class maintains
power not just through economic means but also by controlling cultural and ideological institutions.
Gramsci's concept of hegemony emphasizes how dominant groups secure consent from the oppressed
through cultural leadership. His Prison Notebooks, written during his imprisonment under Mussolini’s
fascist regime, have become foundational in the study of cultural theory, power, and resistance.

Gramsci's theory of cultural hegemony encompasses several fundamental aspects. Firstly, the ruling
class sustains its dominance by actively influencing societal norms and values, thereby rendering its
worldview as natural and unavoidable. This perspective allows the working class and other marginalized
groups to accept the prevailing conditions without fully recognizing their role in perpetuating existing
power dynamics. Secondly, Gramsci posits that control is exercised through societal consent rather than
solely through overt force or coercion. This consent is cultivated by promoting values and ideologies
that resonate with the populace, often obscuring the ruling class's interests under the pretense of the
common good. Thirdly, culture and ideology do not merely mirror economic power; they actively
contribute to its formation and reinforcement. Gramsci emphasizes that the superstructure, which
includes cultural institutions, possesses a certain degree of autonomy and can exert influence over the
economic base, making ideological control a significant tool for maintaining economic dominance.
Lastly, Gramsci contends that power is frequently contested and transformed through gradual cultural
changes rather than through direct confrontation. This implies that the working class and other
disenfranchised groups can slowly cultivate alternative values and norms that challenge the prevailing
culture, resulting in a "war of position" where power dynamics are reconfigured over time.

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Gramsci’s theory of cultural hegemony is particularly effective for analyzing Shaw’s critique of war in
Arms and the Man, as it sheds light on the role of ideology in shaping societal acceptance of violence.
Shaw’s satirical narrative reveals how romanticized and idealized perceptions of war serve the interests
of the ruling class by depicting military heroism as both honorable and noble. Employing Gramsci’s
framework enables a deeper analysis that transcends mere satire, allowing for an exploration of how
these ideals subtly reinforce societal structures that favor the elite while securing the consent of the
working class. By challenging the romanticized depictions of war, Shaw confronts the ideological norms
that render societal acceptance of violence as justified and acceptable. This study utilizes Gramsci’s
theory to dissect how Arms and the Man interrogates the prevailing narratives surrounding war, offering
a sophisticated critique of the ways in which ideologies uphold power structures.

Moreover, Gramsci’s insights into the relationship between culture and power are particularly pertinent
for understanding class struggles within the play. By examining how the ruling class employs ideology to
obtain consent, this research illuminates Shaw’s investigation of the power dynamics inherent in cultural
narratives. Gramsci’s concepts underscore how Shaw’s characters—such as Bluntschli, who adopts a
pragmatic view of war, and Raina, who initially idealizes heroism—embody the various ways individuals
internalize or resist dominant ideologies. Through Gramsci’s perspective, Arms and the Man emerges
not only as a satire of romanticism but also as a critical inquiry into how societal values intersect with
class interests, providing a viewpoint that challenges the ostensibly neutral representation of war and
heroism.

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CHAPTER 3

Methodology

This study will utilize a qualitative approach to deeply investigate the concepts of cultural hegemony and
class conflict as presented in Arms and the Man. It will incorporate both primary and secondary data
collection techniques to facilitate a thorough examination.

[Link] Data Collection

Textual analysis serves as a qualitative data analysis technique that methodically scrutinizes and
interprets texts, whether written or spoken, to uncover underlying meanings, themes, and patterns. In
the realm of qualitative research, especially when analyzing literary narratives like Arms and the Man,
textual analysis enables researchers to delve into the connections among language, structure, and
context.

1. Contextual and Structural Analysis

In "Arms and the Man," Shaw organizes the narrative around two opposing social classes: the idealistic
aristocracy exemplified by characters such as Raina and Sergius, and the pragmatic working class
represented by Bluntschli. A textual analysis of this structural framework reveals the power dynamics
that Shaw seeks to critique:

Social Hierarchy: The play opens with an idealized view of heroism and social superiority. Raina’s noble
family is captivated by notions of honor and gallant warfare, presenting these ideals as inherent and
superior. In contrast, Bluntschli’s practical, anti-heroic perspective immediately challenges this ideal,
questioning the social hierarchy that elevates aristocratic values above others.

Class Juxtaposition: Shaw employs scenes that showcase direct interactions between characters from
differing social backgrounds to emphasize class conflict. For instance, Bluntschli, a soldier who prioritizes
practicality over traditional heroism, unexpectedly finds himself in Raina’s room, a private and
emblematic space of the aristocracy. This surprising context underscores the intrusion of working-class
realism into an aristocratic environment, creating a striking visual contrast that symbolizes the conflict
between differing cultural values.

2. Language and Dialogue Analysis:

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Shaw’s employment of language and dialogue offers essential insights into the mechanisms of cultural
hegemony within the play. Through the characters' conversations, Shaw illustrates how the ruling class
imposes its values as universally accepted and “natural” truths. A textual analysis would focus on
specific linguistic choices that highlight these ideological tensions:

Romanticized Language of the Aristocrats: Characters such as Raina and Sergius utilize ornate, idealized
language that embodies their upper-class values. They employ terms like “noble,” “brave,” and “hero”
without irony, reinforcing their ideals. Through this choice of language, Shaw portrays the aristocracy’s
conviction in its moral superiority, which serves to validate its dominance.

Bluntschli’s Pragmatic Language: In stark contrast, Bluntschli’s speech is direct, unembellished, and
devoid of romanticism. By characterizing war as a matter of survival rather than a pursuit of honor, he
dismantles the aristocratic notion of heroism. For instance, Bluntschli’s analogy of soldiers to “chocolate
creams” satirizes the hollow valor of the upper classes, thereby exposing the absurdity of their
convictions. Shaw critiques the cultural hegemony of the aristocracy by presenting a working-class
viewpoint that reveals the emptiness of elite values.

[Link] Analysis: Hegemony and Ideology

A Gramscian textual analysis would delve deeper into the manifestation of hegemonic control and class
ideology within the play. Shaw highlights the artificiality of aristocratic ideals by juxtaposing them with
Bluntschli’s working-class principles, thereby exposing their reliance on cultural endorsement rather
than intrinsic value.

Ideology as a Mechanism of Control: In "Arms and the Man," the aristocracy depends on the notion of
heroism to justify its authority. For example, Sergius’ commitment to antiquated codes of honor
symbolizes the upper class’s attachment to outdated values. By portraying these ideals as fundamentally
flawed, Shaw critiques the role of cultural hegemony as a means of control, fostering compliance among
those who subscribe to the ideology.

Resistance to Hegemony: Bluntschli’s rejection of aristocratic ideals represents a form of class

resistance. Through this character, Shaw presents an alternative value system grounded in practicality
and survival, which stands in stark contrast to the hegemonic ideals championed by the aristocrats. This
conflict underscores the potential for resistance within a hegemonic framework, indicating that such
values are not universal but rather constructed to benefit particular class interests.

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[Link] and Irony as Devices

Symbolism and irony are essential instruments that Shaw utilizes to critique cultural dominance and
class struggles, and a thorough textual analysis would delve into these elements to reveal more
profound interpretations within the play:

Chocolate Creams as a Symbol: The metaphor of the "chocolate cream soldier" serves as a sharp
critique of the glorified notion of heroism. Bluntschli’s revelation of carrying chocolates instead of
ammunition starkly contrasts with the aristocratic perception of war as honorable. The chocolates
symbolize Bluntschli’s practical, survival-focused mindset and critique the unrealistic ideals held by the
aristocracy.

Irony in Class Relations: Shaw employs irony to challenge aristocratic values. For instance, Sergius’
deluded sense of heroism is depicted as nearly laughable when juxtaposed with Bluntschli’s realistic
perspective. The irony in Sergius’ behavior not only highlights the impracticality of aristocratic ideals but
also underscores the absurdity of the dominant narratives that glorify such values. Shaw uses this irony
to imply that the principles championed by the aristocracy are not only unattainable but also detached
from the realities of life.

[Link] Analysis and Cultural Hegemony

Textual analysis also examines character relationships as reflections of broader social dynamics. In
"Arms and the Man," Shaw’s characters are crafted as representations of opposing ideologies, with
Raina and Sergius embodying the dominant class, while Bluntschli represents an anti-hegemonic force.

Raina’s Evolution: At the outset, Raina personifies the aristocratic ideal, adoring Sergius and idealizing
warfare. However, her growing attraction to Bluntschli indicates a departure from cultural hegemony.
Through Raina’s evolution, Shaw illustrates the potential for ideological transformation, implying that
individuals can rise above the values dictated by their social class.

Bluntschli as a Challenging Presence: Bluntschli serves as the primary critique of hegemony within the
play. His practical approach and rejection of romantic notions reveal the inconsistencies inherent in the
aristocracy’s perspective. His character embodies a challenge to the established order, showcasing the
potential for subversion within a seemingly stable class structure.

[Link] Interpretation of Power and Consent

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From a Gramscian viewpoint, power is upheld not merely through coercion but by obtaining the consent
of the subordinate classes. Shaw’s Arms and the Man exemplifies the mechanisms of this consent within
the societal framework:

Consent through Cultural Narratives: Raina and Sergius initially reflect the cultural narratives that
validate the social supremacy of the aristocracy. Their embrace of heroic ideals indicates the
internalization of hegemonic values, illustrating how the ruling class maintains its authority by securing
ideological agreement.

Bluntschli’s Role as a Counter-Hegemonic Force: Bluntschli’s pragmatic approach challenges the

aristocratic perspective, positioning him as a counter-hegemonic figure that erodes the consent
supporting aristocratic principles. Through Bluntschli’s impact, Raina begins to perceive the superficiality
of aristocratic ideals, implying that hegemonic values are subject to scrutiny and potential rejection.

[Link] Data Collection Method

In analyzing Arms and the Man through the framework of Gramsci’s theory of cultural hegemony, the
process of secondary data collection entails a thorough examination of various academic resources,
including journal articles, essays, and books that delve into Gramsci’s fundamental concepts regarding
hegemony, ideology, and cultural consent. These materials will establish the theoretical basis for your
research by elucidating the mechanisms of cultural hegemony within society. Given your objective to
investigate the representation of class conflict and cultural dominance in Shaw’s play, secondary data
pertaining to Gramsci’s theories will aid in contextualizing these motifs. The following outlines the
contributions of secondary data to your study:

Comprehending Cultural Hegemony: Secondary literature on Gramsci will elucidate how prevailing
social groups create cultural standards that reinforce their authority, rendering these standards as
natural and widely accepted within society. This theoretical perspective is instrumental in interpreting
Arms and the Man, as it underscores how specific societal values, such as heroism and honor, are
constructed and perpetuated by the ruling classes. Shaw critiques these values through characters who
challenge or resist these societal constructs, thereby exposing the impact of ideology on individual
beliefs and behaviors.

The Function of Ideology in Class Conflict: Gramsci asserts that ideological control, rather than coercion,
is the primary means of sustaining dominance. Secondary sources that explore this notion offer valuable
insights into how Shaw’s characters either embody or contest this ideological control. By engaging with

16
scholarly analyses of Gramsci’s views on ideology, you can enhance your examination of how Shaw
satirizes the ideological beliefs that support the aristocracy and rationalize warfare. For example, by
analyzing Raina’s idealized perception of heroism, influenced by her social standing, you can illustrate
how Shaw employs her character to critique these ideological constructs.

Cultural Consent and Social Authority: Secondary literature on cultural consent—particularly Gramsci’s
concept that the ruling class secures the approval of the governed, thereby making social control seem
voluntary—provides a framework for understanding Shaw’s portrayal of social authority. By utilizing
secondary sources, one can analyze how characters such as Bluntschli, who confronts Raina’s beliefs,
symbolize a challenge to the prevailing narrative. This exploration of cultural consent enables an
examination of how Shaw employs characters to expose weaknesses in the ostensibly consensual social
structure and to critique established societal conventions.

[Link] Sampling

Purposive sampling entails the intentional selection of specific excerpts, scenes, and dialogues in "Arms
and the Man" that effectively demonstrate Shaw’s critique of cultural hegemony and class conflict. This
method is both deliberate and focused, concentrating solely on material that is directly pertinent to
your research inquiry. The application of purposive sampling can be illustrated in the following ways:

Selection of Significant Scenes: Key scenes that emphasize the disparity between Bluntschli’s pragmatic
understanding of war and Raina’s romanticized notions are crucial to your examination. For instance,
the moment when Bluntschli exposes the absurdity of war’s glorification by confessing that he carries
chocolates instead of ammunition serves to highlight a core class conflict: Bluntschli’s viewpoint
challenges the aristocratic narrative that venerates warfare. By concentrating on this particular scene,
purposive sampling facilitates an analysis of how Shaw contests the constructed narrative of heroism
upheld by the ruling class.

Emphasis on Pertinent Dialogues: Dialogues that uncover class-based assumptions and expectations—
such as Raina’s initial contempt for Bluntschli, labeling him a ‘coward’ due to his pragmatic stance on
war—are vital for comprehending Shaw’s depiction of ideological control. The purposive sampling of
these dialogues allows for a concentrated analysis of how class expectations influence individual beliefs,
thereby illustrating Gramsci’s theory that ideological influence can perpetuate class distinctions. In this
context, Shaw critiques the imposition of societal ideals, which shape personal relationships and
perceptions of self-worth.

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Character Interactions and Power Dynamics: Analyzing excerpts that showcase the interactions among
Bluntschli, Raina, and her fiancé, Sergius, provides valuable insights into Shaw's examination of class and
power through personal relationships. For example, the pragmatic and realistic perspectives of
Bluntschli stand in stark contrast to the romanticized, aristocratic notions held by Sergius, thereby
underscoring a divide rooted in class ideology. This interplay among characters facilitates an exploration
of Shaw's critique of cultural hegemony, reflecting Gramsci’s concept that the dominant class enforces
cultural norms to maintain its authority. By focusing on these specific interactions, the analysis remains
anchored in textual evidence that directly addresses themes of cultural hegemony and class struggle.

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References

1. Azizmohammadi, Fatemeh. "Sexism or Gender Differentiation and Class Differentiation

in George Bernard Shaw's Arms and the Man." European Journal of Literature, Language
and Linguistics Studies, vol. 5, no. 4, 2020, pp. 101-110.

2. Daldry, G. (1992). Understanding Shaw’s Plays in Performance. Macmillan.

3. Eagleton, T. (2007). Ideology: An Introduction. Verso.
4. Femia, J. V. (1981). Gramsci’s Political Thought: Hegemony, Consciousness, and the
Revolutionary Process. Clarendon Press.
5. Gramsci, A. (1971). Selections from the Prison Notebooks. (Q. Hoare & G. Nowell Smith,
Eds. & Trans.). International Publishers.
6. Gramsci, Antonio. Selections from the Prison Notebooks. Edited and translated by
Quintin Hoare and Geoffrey Nowell-Smith. New York: International Publishers, 1971.
7. Khalil, Md. Ibrahim. "An Existential Reading of GB Shaw's Arms and the Man."
European Journal of English Language and Literature Studies, vol. 8, no. 2, 2020, pp. 32-
39.
8. Marx, Karl. The Communist Manifesto. With Friedrich Engels. New York: International
Publishers, 1848.
9. Morton, A. D. (2007). Unravelling Gramsci: Hegemony and Passive Revolution in the
Global Political Economy. Pluto Press.
10. Panda, Santanu. "Socialism in G.B Shaw's Arms and the Man: A Study of Realism and
Idealism." International Journal of English Research, vol. 5, no. 2, 2019, pp. 24-29.
11. Shaw, G. B. (1898). Arms and the Man. Penguin Books.
12. Shaw, George Bernard. Arms and the Man. London: Walter Scott, 1894.
13. Siddiqui, Dr. Shahzad Ahmad. "Realism in Arms and the Man: A Comparative Study –
Realism and Idealism." The Criterion: An International Journal in English, vol. 4, no. 1,
2013, pp. 45-53.
14. Stevens, J. H. (1976). George Bernard Shaw: The Search for Love. Macmillan.
15. Storey, J. (1993). Cultural Theory and Popular Culture: An Introduction. University of
Georgia Press.
16. Williams, R. (1977). Marxism and Literature. Oxford University Press.

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