Saint Joan - George Bernard Shaw

Summary

George Bernard Shaw's Saint Joan is a historical play that dramatizes the life and trial of Joan of Arc, a young French peasant girl who claims divine guidance to lead the French army to victory against the English during the Hundred Years' War. The play follows Joan's rise from an unknown maiden to a military leader, her successes in battles like Orléans, and her instrumental role in the coronation of Charles VII. However, her unconventional methods, direct communication with God, and challenge to both feudal and ecclesiastical authority eventually lead to her capture by the Burgundians, who sell her to the English. She is then put on trial for heresy by an ecclesiastical court manipulated by English political interests. Despite her unwavering faith and courage, Joan is ultimately condemned and burned at the stake. The play culminates in an epilogue set 25 years later, where characters from her past reflect on her life, death, and subsequent canonization, highlighting the enduring conflict between visionary individual genius and established institutions.

Book Sections

Section I

The play opens in the castle of Robert de Baudricourt in Vaucouleurs, France, in 1429. Robert is exasperated because his chickens have stopped laying eggs, which his steward attributes to Joan, a young peasant girl who has been bothering them for an army. Joan, resolute and confident, insists that God has commanded her to raise the siege of Orléans and crown the Dauphin at Rheims. Robert, initially dismissive and cynical, finds himself inexplicably swayed by Joan's conviction and charisma, especially after the 'miracle' of the chickens laying eggs again. He eventually agrees to give her a horse and a small escort, including Bertrand de Poulengey, to take her to the Dauphin at Chinon.

Character	Characteristics	Motivations
Joan	A young peasant girl, seventeen years old, strong-willed, pragmatic, pious, direct, and exceptionally confident. Believes she hears voices from God (St. Catherine, St. Margaret, Archangel Michael).	To fulfill God's command: raise the siege of Orléans, crown the Dauphin, and drive the English out of France. She genuinely believes in her divine mission.
Robert de Baudricourt	A French squire, feudal lord of Vaucouleurs, middle-aged, cynical, proud, authoritarian, and conventional. Initially skeptical of Joan.	To maintain his feudal authority and personal comfort. He is initially motivated by annoyance and disbelief but is eventually swayed by Joan's force of personality and the practical outcomes (chickens).
The Steward	Robert's servant, superstitious, loyal, and somewhat fearful.	To serve his master and avoid trouble. He is intrigued by Joan and attributes the 'miracle' of the chickens to her.
Bertrand de Poulengey	A young French knight under Robert's command, more open-minded and less cynical than Robert.	To serve France and his lord. He is convinced by Joan's sincerity and courage and becomes one of her first supporters.

Section II

Joan arrives at the court of the Dauphin, Charles, in Chinon. The court is a place of cynicism, petty intrigues, and despair. Charles is portrayed as a weak, timid, and indecisive figure, more interested in pleasing his advisors than leading. To test Joan, he hides among his courtiers, but Joan immediately identifies him, a feat that convinces him and many others of her divine inspiration. She passionately argues for an army to lift the siege of Orléans, promising victory and his coronation. The Archbishop of Rheims is skeptical, fearing heresy and disorder, but eventually agrees to give Joan a chance after seeing her impact on the Dauphin and sensing her pure conviction. The court, including the Lord Chamberlain (Gilles de Rais, also known as Bluebeard) and Captain La Hire, is largely impressed, if not entirely convinced, by her unwavering belief.

Character	Characteristics	Motivations
Charles VII (The Dauphin)	The uncrowned King of France, weak, indecisive, cowardly, prone to self-doubt, emotionally fragile, and pragmatic in a cynical way.	To secure his crown and power, but primarily driven by a desire for peace and avoiding conflict. He seeks an easy path and is easily swayed by powerful personalities or the opinions of his court. He yearns for respect and legitimacy.
The Archbishop of Rheims	A high-ranking church official, intelligent, cautious, traditional, and concerned with maintaining ecclesiastical authority and order.	To uphold the authority of the Church and to ensure theological orthodoxy. He is wary of anything that challenges established order or smacks of heresy, but also recognizes the practical benefits Joan might bring to France.
Lord Chamberlain (Bluebeard)	A French nobleman, initially skeptical and frivolous, but later becomes a loyal, if somewhat bewildered, follower of Joan.	To serve the Dauphin and maintain his position in court. He is drawn to Joan's charisma and effectiveness, even if he doesn't fully understand her.
La Hire	A blunt and fierce French captain, a veteran soldier, initially skeptical but admires courage and leadership.	To fight for France and his king. He values practical military skill and bravery above all else and is impressed by Joan's ability to inspire and lead soldiers effectively.

Section III

This scene takes place on the banks of the Loire River, near Orléans. The English are besieging the city, and the French general, Dunois (the Bastard of Orléans), is frustrated by the unfavorable wind, which prevents his forces from crossing the river to relieve the city. Joan arrives, full of energy and confidence. She quickly assesses the situation and, through her sheer belief and determination, inspires Dunois and his men. She predicts the wind will change, and miraculously, it does. This event, combined with her strategic insight and fearless presence, turns the tide. She takes command, rallies the demoralized French troops, and leads a successful attack against the English, lifting the siege of Orléans.

Character	Characteristics	Motivations
Dunois (Bastard of Orléans)	A skilled and experienced French general, practical, somewhat cynical, but honorable and loyal. He is a pragmatic military leader.	To win battles for France and to raise the siege of Orléans, thereby securing the Dauphin's claim. He is motivated by military strategy and national loyalty. While initially skeptical of Joan's divine claims, he quickly recognizes her extraordinary leadership, courage, and ability to inspire troops, making him a loyal, albeit sometimes questioning, ally.

Section IV

The setting shifts to the English camp near Troyes. The Earl of Warwick, a shrewd English nobleman and military commander, discusses Joan's remarkable successes with John de Stogumber, an English chaplain, and Peter Cauchon, the Bishop of Beauvais. Warwick views Joan primarily as a political threat, a nationalist symbol who is uniting France and undermining feudalism by appealing directly to the common people and the concept of a sovereign nation. Stogumber, driven by fervent English patriotism and religious bigotry, sees her as a witch and an agent of the Devil, deserving immediate execution. Cauchon, an intelligent and learned churchman, recognizes the danger she poses to the established Church hierarchy. He fears her claims of direct communion with God, her disregard for ecclesiastical authority, and her assertion of personal conscience over the Church's dogma, all of which constitute heresy in his eyes. The three men, for different reasons, agree that Joan must be captured and eliminated.

Character	Characteristics	Motivations
Earl of Warwick	An English nobleman and military commander, politically astute, pragmatic, worldly, intellectual, and an advocate for the feudal system.	To secure English dominion over France and maintain the feudal order, which he sees as both politically expedient and naturally just. He views Joan as a dangerous political revolutionary who threatens to unify France under a strong king, thereby undermining English interests and the established social structure.
John de Stogumber	An English chaplain, hot-headed, bigoted, nationalistic, and cruel, prone to emotional outbursts and religious fanaticism.	Driven by intense English nationalism and religious prejudice against the French and against anyone perceived as a heretic. He genuinely believes Joan is an agent of the Devil and wants her burned as a witch, motivated by a mix of fear, hatred, and a simplistic interpretation of divine will.
Peter Cauchon (Bishop of Beauvais)	A French bishop loyal to the English cause, learned, intelligent, subtle, ambitious, and deeply committed to theological orthodoxy and the authority of the Church.	To defend the true faith and the authority of the Catholic Church. He sees Joan as a dangerous heretic whose direct claims to God's will undermine the Church's role as intermediary. He believes he is saving her soul and protecting Christendom from theological anarchy, even as he is politically allied with the English.

Section V

The scene shifts to Rheims Cathedral, where Charles VII is being crowned King of France. This is the culmination of Joan's mission. However, despite the triumph, the atmosphere is tinged with disillusionment. Joan finds herself increasingly isolated. Charles, now crowned, is less reliant on her and more interested in peace than further military campaigns. The Church, represented by the Archbishop, is wary of her continued influence and her claims of divine inspiration that bypass their authority. Dunois, while loyal, sees her as too headstrong and impractical for peacetime. Joan expresses her desire to attack Paris and drive out the English entirely, but her counsel is rejected. She feels the court's ingratitude and misunderstanding. She realizes that her "voices" are now urging her to go her own way, away from the court, which will lead to her downfall.

Section VI

This is the famous trial scene, set in the Cathedral Chapter of Rouen. Joan is tried for heresy by an ecclesiastical court, with Bishop Cauchon presiding and the Inquisitor playing a major role. The trial is a meticulous and agonizing cross-examination. Joan, though uneducated, defends herself with remarkable wit, courage, and simple faith. The charges against her include sorcery, heresy (for claiming direct inspiration from God and wearing men's clothes), and rejecting the authority of the Church. The court relentlessly presses her to recant. They demand she submit to the Church Militant (the authority of the earthly Church). Overwhelmed and facing the terror of burning, Joan briefly recants, signing a document confessing her errors. However, when she realizes that recantation means perpetual imprisonment rather than freedom, she tears up the document, declaring that her "voices" never lied to her and she prefers to burn than betray her conscience. The court, with a mix of despair and condemnation, hands her over to the secular arm (the English soldiers) for execution. John de Stogumber, the English chaplain, is gleefully triumphant, but the sight of Joan burning at the stake deeply shocks him, leading to a moment of horrific realization and remorse.

Character	Characteristics	Motivations
The Inquisitor	A high-ranking Dominican official, learned, calm, logical, articulate, and deeply committed to the salvation of souls through the eradication of heresy. He speaks with a chillingly rational zeal.	To protect the Catholic Church from heresy and to save souls from eternal damnation. He genuinely believes that by condemning heretics, he is performing a holy duty, even if it leads to their death. He seeks to persuade Joan to recant for her own spiritual good and for the stability of the Church, believing that individual conscience must always be subordinate to the collective wisdom and authority of the Church. He represents the institutional fear of unorthodoxy and individual spiritual freedom.
English Captain	A typical English soldier, pragmatic, follows orders, and somewhat brutish. Represents the secular arm and English national interests.	To execute the orders of his superiors and to ensure the English military victory is secured by removing Joan. He sees her simply as an enemy combatant and a troublemaker who needs to be eliminated for political and military reasons. He is detached from the theological arguments.

Epilogue

The play concludes with an epilogue set 25 years later, in Charles VII's bedchamber. Charles, now an old man, is visited by ghosts of the past – Bishop Cauchon, the Inquisitor, Warwick, Stogumber (who is now haunted by his past actions), Dunois, and even Joan herself, now canonized as Saint Joan. They discuss Joan's life, trial, and legacy. Each character offers their perspective, revealing that they all acted according to their beliefs and the conventions of their time. Cauchon and the Inquisitor maintain they did their duty, Stogumber expresses profound regret, and Charles admits that France was better off without Joan in the long run, as her presence caused too much disturbance. When a new arrival announces that Joan is about to be canonized and a voice from the future suggests she may even return, all the characters recoil, expressing their discomfort and fear at the prospect of a living saint among them. Joan, realizing that the world is still not ready for her, acknowledges her loneliness and steps back into the shadows, lamenting that "O God that madest this beautiful earth, when will it be ready to receive thy saints? How long, O Lord, how long?"

Literary Genre

Historical Play, Tragedy (though Shaw preferred to call it a "chronicle play" or "tragedy of ideas"), Drama.

Author Information

George Bernard Shaw (1856–1950) was an Irish playwright, critic, polemicist, and political activist. He was awarded the Nobel Prize in Literature in 1925. A prolific writer, his influence on Western theatre, culture, and politics extended from the 1880s to his death and beyond. He was a leading figure in the Fabian Society, a socialist organization that advocated for gradual reform. His plays often dealt with social issues, intellectual debates, and critical examinations of established institutions, using wit, satire, and challenging conventional morality. Other notable works include Pygmalion, Man and Superman, Mrs. Warren's Profession, and Arms and the Man.

Morale and Curiosities

Morale:
The play explores the timeless conflict between individual genius, visionary leadership, and the rigid structures of society, church, and state. It questions the nature of sainthood, challenging the audience to consider whether society truly wants its saints alive and disruptive, or if it prefers them safely dead and canonized. Shaw suggests that great individuals, especially those who challenge the status quo, will always be met with resistance and misunderstanding from the institutions they seek to reform or transcend. The play also delves into themes of nationalism, heresy, the limitations of justice, and the difficulty of accepting new truths that challenge old orders. It ultimately poses the question: "How long, O Lord, how long?" until humanity is ready to receive its saints and prophets.

Curiosities:

• Nobel Prize: Shaw was awarded the Nobel Prize in Literature in 1925, primarily for Saint Joan and Pygmalion. He initially rejected the monetary award, asking that it be used to fund the translation of Swedish literature into English, though he later accepted it for other purposes.
• Historical Accuracy: Shaw prided himself on the historical accuracy of Saint Joan, using original trial transcripts and historical accounts as his primary sources. He deliberately challenged the romanticized or purely demonic portrayals of Joan common in earlier works, seeking to present her as a pragmatic, intelligent, and human figure, albeit one with a divine mission.
• The Inquisitor's Speech: The Inquisitor's lengthy speech in Scene VI is often considered one of the most powerful and chilling arguments in dramatic literature for the necessity of suppressing heresy, even through execution. It presents a logical, albeit ruthless, justification for the Church's actions from its own perspective.
• Epilogue Controversy: The epilogue, with its fantastical element of ghosts and time travel, was controversial with some critics and audiences. Shaw defended it as essential to the play's intellectual and thematic depth, arguing that it allowed for a broader reflection on Joan's legacy and the enduring human resistance to change.
• Shaw's Preface: As with many of his plays, Shaw wrote a substantial preface for Saint Joan that further expounds on his views on Joan, history, religion, and the various characters, offering deeper insights into his philosophical intentions behind the play.