Summary

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George Bernard Shaw's "Saint Joan" explores the life of Joan of Arc, presenting her as a complex figure who transcends the simplistic labels often attached to her. While she was a fervent Catholic, Shaw argues that Joan's actions and beliefs aligned her with Protestant martyrdom, nationalism, military genius akin to Napoleon, and early feminism. Through her story, Shaw navigates themes of religious authority, societal intolerance, and the courage to challenge conventional norms.

Revisiting Joan's Legacy

In the preface, Shaw provocatively claims that Joan, though rooted in Catholicism, was a pioneer of Protestantism, nationalism, and feminism. Her audacious claims of divine communication and her dismissive attitude towards male authority figures incited resentment, leading to her tragic execution. Shaw insists that Joan was unjustly accused of witchcraft and misconduct, yet modern understanding no longer requires defending her innocence, focusing instead on recognizing her true character.

Contrary to the romanticized images of Joan as a simple, charming peasant girl, Shaw portrays her as a saintly genius who, despite being illiterate, belonged to an elevated social strata and was an intellectual force. Her visionary experiences were not madness or saintly miracles, but rather the inspiration often found in geniuses. Shaw juxtaposes Joan's unwavering faith in Catholic rituals against modern-day beliefs, likening contemporary scientific "gospels" to the superstitions she was criticized for.

Historical Misjudgments

Shaw critiques the notion that Joan's judges were mere villains, arguing instead that her trial was fairly conducted by the standards of the time. Ironically, the process that posthumously cleared her name was the one that bore signs of corruption. Shaw contends that the Church, exercising its authority, could rightfully excommunicate Joan for her defiance, but condemning her to death was an indefensible act of brutality.

He further argues that allowing Joan to propagate her ideas outside the Church posed a societal threat, given that societies are built on intolerance. Yet societal progress hinges on tolerating dissent, as revolutionary ideas often arise from those labeled as heretics. Shaw notes that tolerance fluctuates with time and circumstances, suggesting that the modern era is not inherently more tolerant than the Middle Ages.

Shaw's Representation of the Middle Ages

Shaw concludes his preface by asserting that his portrayal of the Middle Ages is more historically accurate than Shakespeare's, though he admits to using anachronisms to enhance comprehension. He defends the philosophical elements and the Epilogue of his play, resisting calls for their removal, as they contribute to the thematic depth of the work.

Scene I: Joan's Mission Begins

The play opens in 1429, at the castle of Robert de Baudricourt, where he scolds his steward over the hens' failure to lay eggs. The steward blames Joan, whom Robert finally agrees to meet. Joan persuades Robert to equip her with a horse, armor, and men to approach the Dauphin and convince him to break the siege of Orléans, aiming to expel the English from France. Claiming divine directives from Saints Margaret and Catherine, Joan's fervor makes Robert consider her mad, yet potentially inspiring for the troops. Strangely, once Robert agrees to assist her, the hens resume laying eggs.

Scene II: Winning Over the Dauphin

At the Dauphin Charles's court, Joan arrives to a warm reception, fueled by Robert's positive report and rumors of her miraculous deeds, including causing a soldier's death for swearing. Despite initial skepticism, Joan's ability to identify Charles amidst disguised courtiers impresses him. In private, she emboldens Charles to entrust her with command to lift the siege of Orléans.

Scene III: A Divine Wind

Joan reaches Orléans, ready to lead. The commander, Dunois, explains their inability to attack due to unfavorable winds....

(This entire section contains 868 words.)

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Joan prays for a shift, and remarkably, the wind changes before they even reach the church.

Scene IV: English Opposition

In the English camp, the Earl of Warwick, Chaplain de Stogumber, and Bishop Cauchon deliberate over the English setbacks attributed to Joan. Stogumber calls for her death as a witch, while Cauchon labels her a heretic threatening Church authority. Warwick, concerned about her influence on royal power, also supports her execution. Though cautious, Cauchon insists on ensuring Joan's spiritual salvation.

Scene V: Joan's Ambition

Following Charles's coronation, Joan urges him to continue the campaign towards Paris, alarming his advisers. Even Dunois and the Archbishop caution her against pride, which could lead to her downfall. Joan, undeterred, asserts that her alignment with God and the people's love will sustain her, despite isolation.

Scene VI: The Trial and Execution

Set in Rouen Castle, 1431, the trial presses Joan to renounce her stance for her salvation. She momentarily capitulates under the threat of death but retracts her recantation upon realizing lifelong imprisonment awaits. Led to execution, Joan maintains her integrity as those around her, including Stogumber, grapple with remorse and the gravity of their actions. The Executioner's news that Joan's heart would not burn leaves Warwick pondering her enduring legacy.

Epilogue: Joan's Enduring Spirit

Twenty-five years post-execution, Charles learns of Joan's exoneration. In a dream, Joan appears alongside past figures, joined by a 1920s gentleman announcing her sainthood. While all acclaim Joan, they hesitate when she offers to return, signifying the world's reluctance to embrace such radical change. Alone, Joan wonders when humanity will truly be ready for divine messengers.

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