As I read, the images of Falconetti became deeply engraved in my mind. Perhaps it was accompanied by the music of Messiaen, like Fete des belles eaux. This is a highly orthodox tale that delves into moral and legal upheavals. Add a touch of divine nationalism and there you have it.

This Joan was rather sharp-witted, while other depictions show her as a nascent martyr. Her oppressors are oppressively oafish, and Bluebeard ruminates on the Divine Rights and the souls of lumpen children, entertaining something ghastly - only Allah knows.

GB Shaw has truly impressed me this week. Not only is the scale of his vision remarkable, but the complexity of his characters is also outstanding. There is always a sense of tenderness and treachery lurking around, often within the same character on a single page. It makes his works a captivating exploration of the human condition.

What a goddamn brilliant play!

I've been thinking about this play a great deal ever since I finished it three weeks ago. There are parts that don't quite fit together seamlessly, while others are uproariously hilarious, and some seem overly labored. However, those speeches are like an earworm, firmly lodged in your brain. Overall, reading this play left me with weeks of that sense of wonder that we all seek when we read.

The thing about Shaw is that he has a grand vision for this play, worthy of Joan herself. It's about how history, mysticism, culture, and an individual's daemonic genius interact and conflict. And of course, the ending's lament for the world's collective lack of imagination, the idea that Joan could have achieved even more. Shaw is solely focused on maintaining fidelity to this vision.

As a result, some aspects of the play seem a bit sloppy. The pacing is breakneck at times and ploddingly tense at others. The characters reveal their motives too quickly and all speak like the most self-aware individuals you've ever encountered. Everyone is a bit too consistent and clever. The speedy humor of the first act doesn't hold up well later on. There's a lack of subtlety throughout. The dialogue's anachronisms are inevitably jarring. And Shaw can't seem to decide what to do with the miracles and the voices. He uses them for dramatic effect but can't provide a convincing overarching thematic reason for their presence.

Even more damningly, he doesn't know how to handle Joan's recantation and re-cantation. In his defense, who knows what really happened? But his portrayal of a simple, straightforward, and violently vital Joan doesn't allow for her temporary abdication to be convincing.

However, the recantation scene serves to set up her magnificent passage on freedom. It's up to the actress to bring that scene to life, as the passage itself is full of vigor but lacks depth or nuance. But when it's well done, it's a Saint Crispin's day moment.

And all of those speeches by the inquisitors - how would we understand the stakes for the Church and society in general if they didn't show their hand to us so eloquently?

Basically, the flaws in the play contribute to the attempt to convey Joan in all of her flawed human grandeur.

If possible, read this play with Shaw's preface and annotations. His preface is wonderful, and the notes on his staging recommendations are delightful.

**Title: Joan of Arc - A Play**

**Author: George Bernard Shaw**

**Pages: 250 pages**

Joan of Arc, born into a peasant family in northeastern France in 1412 and died on May 30, 1431, is a French national hero and a saint in the Roman Catholic Church. She was nicknamed "The Maid of Orleans". Joan of Arc claimed divine inspiration and led the French army to several important victories during the Hundred Years' War, paving the way for Charles VII to be crowned king. She was then captured and sold to the English for money, charged with "rebellion and heresy", and finally burned at the stake for heresy when she was 19 years old. Twenty-five years after her execution, Pope Callixtus III allowed a special commission to review her trial, which acquitted her of the charges against her and declared her a martyr based on that.

The play tells a beautiful and detailed story of the place and the expressions of the characters, including their postures, horses, and even their sitting and standing. From the beginning when Joan declares her intention to join the military and the army until her trial and execution, the author's style is unique and his language is very strong. The translator also did a beautiful and satisfying job of translation, with a strong Arabic language.

What I didn't like about the novel is the abundance of swearing and cursing!

What's wonderful about it is that I got to know new historical figures that I didn't know before. Among these figures is "Jean Fouquet", a 15th-century French painter born in 1420 who invented the "portrait panel" for characters. He painted several portraits of important figures in the 15th century and then moved to Italy, where he established himself at the beginning of the Italian Renaissance.

**Quotes**:
1. "The faith of a man in his own heart is one, no matter how different his creed and country." - Preface
2. "And who knows a son by his mother?"
3. "Deception deceives, but the event that gives birth to faith does not deceive."
4. "Parables are told for the sake of instruction, and fables are fabricated for the sake of the people, so they are not called lies because they describe events that never happened in time."
5. "There is a new spirit growing in people, and we are at the dawn of an era with a wider horizon than we are in now."
6. "Beautiful clothes and splendid attire do not fill the void of empty heads."
7. "One good treaty is better than ten victories on the battlefield. These people who fight lose in the treaties what they gain in the battles."
8. "This is the beauty of God, the beauty of this art. There is nothing more beautiful in the world than a beautiful book, lines of black ink, chosen in columns spaced apart according to the capacity of its frame, with beautiful margins and a good appearance. Thus, books become a delight to the eye."
9. "I am a man of war, not a man of religion. I have argued with the Holy See of God and have seen some of the followers of Muhammad. I did not find them bad-mannered in the place that I understood before, but rather I found them with manners that are not inferior in some respects to our manners."
10. "It grieves me that you should think of me either as a heretic or as a fool, for no other reason than that I have traveled in the countries and have known what I have known that the followers of Muhammad respect Christ with a great external respect, and that in their tolerance they are more likely to forgive St. Peter for calling him a liar than you, my lord, for calling Muhammad a forger. More, my lord, may I ask you to take at least what we are in now without bigotry and narrow-mindedness?"
11. "Some people are born kings, and some people are born politicians. It is rare for a king and a politician to come together in one person. So where will the king find politicians to advise him and carry out his plans?"
12. "He who is amazed at himself does not avoid misfortune, and there is degradation in amazement."
13. "This girl or boy may bring about a new thing if she is not mercilessly crushed when she shakes the foundations of the church and challenges the rules of the empire."
14. "The old saying goes: He who speaks above what he should speak will end up in trouble."
15. "It is not enough for a man to be meek, nor is it enough for what he calls meek to be good. The meekness of a corrupt vision and a dark heart is like the meekness of a beast, equally bad."
16. "The life of prison is like the life of mice in the holes."
17. "Will you not play with fire and pretend that it does not hurt you?"
18. "I complain of the justice of man - it is not the justice of the Merciful One."
19. "The truth is that these political necessities sometimes turn into political mistakes!"

I was truly a master in my particular field. I was even better than the master of Paris and the master of Toulouse. However, there was one thing I could not do, and that was to kill The Maid. She seemed to be up and alive everywhere. It was as if she had an indomitable spirit that could not be quenched. Her presence was felt in every corner, and no matter what I tried, I could not bring her down. It was both frustrating and awe-inspiring. Despite my great skills and abilities, I was powerless against her. This experience taught me a valuable lesson about the power of belief and the strength of the human spirit. I learned so much from this encounter, and it will stay with me for the rest of my life.

Honestly, I respected how the play was set up.

From the literary aspect, it was truly rich in beautiful and eloquent language. And I was very impressed with the translator (the artist) indeed.

And from the aspect of the narrative sequence, it was very engaging and charming, and the play kept you occupied and you didn't want to skip any page.

However, ideologically and religiously, I completely rejected the play. Not to mention the view of one of the characters in the play about our Prophet Muhammad, peace and blessings be upon him. I didn't like what was written.

And the girl Jan who was presented in the story as if she was a messenger sent with miracles!!

Then I was surprised that she was a real person who was later considered in the Christian churches as a saint and it is permissible to bless in her name.

And due to the conflict between the literary side and the (emotional) side, I really respected in evaluating the play!!

4.25 stars, to be exact.

It was quite a challenge for me to truly engage with this play until the very last moments. The second half of the final scene and the epilogue were what made it come alive for me. Its themes are highly critical of the 15th century Catholic Church and its insistence that the priest should be the intercessor and interpreter of doctrine, rather than allowing the people to interpret for themselves. Joan, who has respect for the church and its leaders, is unwavering in her belief that the "voices" she hears are those of God, regardless of what the church figures claim. A crucial tenet of Joan's character is her refusal to be swayed from her own convictions. She firmly believes what she believes and desires what she desires. In this way, her character appears almost childlike in the play.

In the end, Joan meets a tragic fate as she is burned alive for heresy. However, her brutal burning has a profound impact on some in the church and state, who are forever changed by what they witness. After her death, they work hard to clear her name of the heresy charges.

Throughout the play, the author repeatedly emphasizes that Joan seems to be from another world. She is often referred to as a "girl from the village," and she herself states that she will return to that village one year after completing the task God has assigned to her. Exactly what this means is open to interpretation. Nevertheless, it is up to the people of this world to either accept Joan and the task she has been given, or to reject her.

In the end, Joan is essentially rejected twice. The first time is at her burning, and the second time is in a twist of irony at the conclusion of the play.

GB Shaw truly has a way with words. This play is simply amazing!!

I have often heard of Joan of Arc in passing, but have never delved into the details of her story. How much of what is presented in this play is true, I cannot say. However, the fact that she was burned at the stake for heresy and witchcraft in the 1400s, only to be canonized in the 1900s, speaks volumes. She was a poor 19-year-old farm girl who believed solely in God. She had a vision of making France "free and French." She desired to defeat the English and restore France to its rightful place. She was willing to fight and serve her country. She appealed to everyone for help, and by the end of the play, everyone is won over. They all realize that she is truly special and that God is indeed on her side. And yet, despite all this, she is burned.

The story is truly a tragic one, but Shaw manages to add some elements of comic relief, which makes it all the more engaging. Moreover, all the characters in the play are truly memorable, leaving a lasting impression on the reader or viewer.

Well, come, what is a miracle?

A miracle, my friend, is an event which creates faith. That is the purpose and nature of miracles. They may seem very wonderful to the people who witness them, and very simple to those who perform them. That does not matter. If they confirm or create faith they are true miracles.

“Even when they’re frauds, do you mean?”

“Frauds deceive. An event which creates faith does not deceive, therefore it is not a fraud, but a miracle.”

Em, well, I suppose as you are an archbishop you must be right.

Saint Joan is an extremely lively, witty, funny, tragic, and eminently thoughtful play. If it is not precisely a masterpiece, it is so close that the difference hardly matters. Shaw wrote it shortly after the Church canonized Joan. She is a remarkable character in his hands — passionate, headstrong, and fearless — a sort of Eliza Doolittle (from his powerful play Pygmalion) but with much higher stakes and without the Cockney accent.

Shaw uses this play as a means to touch on numerous profound subjects — faith, religion, nationalism, individualism, custom, class, politics — all fitting naturally within Joan’s story and enhanced by Shaw’s sharp wit. However, his overarching purpose seemed to be to tell Joan’s story without villains, instead humanizing even the prosecutors who sentenced her to the flames. Shaw wrote in his preface to the play:

”There are no villains in the piece. Crime, like disease, is not interesting…It is what men do at their best, with good intentions, and what normal men and women find that they must and will do in spite of their intentions, that really concerns us.”

Of course, when you subtract villainy, leaving only sincere people following their best intentions as they understand them, but still causing great pain and doing great harm, you have reached the very essence of tragedy. In the play’s epilogue, (which occurs in a dream) Shaw crafted this exchange between Joan’s prosecutor and the French king:

”Yet, God as my witness, I was just, I was merciful, I was faithful to my light. I could do no other than I did.”

“Yes, it is always you good men that do the big mischiefs.”

And then, as the epilogue dream fades into oblivion, he gives Joan the final word:

”O God that madest this beautiful Earth, when will it be ready to receive thy saints? How long, oh Lord, how long?” This play truly makes us think deeply about the nature of human actions, faith, and the complex web of forces that shape our world.

Chronology of the Life and Times of Bernard Shaw

This section provides a detailed timeline of the significant events in the life and times of Bernard Shaw. It helps us understand the context in which his works were created.

'On Playing Joan', by Imogen Stubbs

Imogen Stubbs shares her insights and experiences on playing the role of Joan in Shaw's works. Her perspective offers a unique look into the character and the challenges of bringing her to life on stage.

Introduction, by Joley Wood

Joley Wood's introduction sets the stage for the rest of the book. She provides an overview of the main themes and ideas that will be explored, as well as some background information on Shaw and his works.

Preface

The preface offers a brief introduction to the book and its purpose. It may also include acknowledgments and any other relevant information.

--Saint Joan

This is the main work of Bernard Shaw that is being presented in this volume. Saint Joan tells the story of Joan of Arc, a young peasant girl who led the French army to victory against the English during the Hundred Years' War.

Principal Works of Bernard Shaw

This section lists the other major works of Bernard Shaw. It gives readers an idea of the breadth and depth of his oeuvre and allows them to explore more of his works if they are interested.

A question for everyone: How could anyone not have an appreciation for Saint Joan ? The fact that it is "beautifully well-written" is self-evident! (After all, it's Bernard Shaw , people. How could one possibly find flaws in his work? He is the modern equivalent of a combination of Shakespeare and Oscar Wilde, although he might have turned in his grave at that comparison!) What makes this play truly remarkable is not just its excellent writing but also the fact that it is one of those rare tragedies that can bring you to tears one moment and make you burst out laughing the next. It is one of those extremely rare plays that you never want to end. Even though it's a story that everyone is likely familiar with, the way Shaw has rewritten it gives the entire thing a new perspective. You see Shaw not only as a playwright of great talent but also as something you never expected him to be - a Protestant!

The language of the play lingers with you; it carves out a special place in the heart of the reader and immortalizes Joan in a way that her actual burning could not. This play makes Joan a favorite among readers, in addition to being the highly publicized Saint who was canonized in 1920 and whose story was told to everyone in a Christian Missionary School during almost every prayer or assembly session!

Thanks to Shaw, I'm certain that for many days to come, I'll dream of Jeanne d'Arc every night. Because no matter how much the story horrified, scandalized, and later bored me when I heard it in school functions, from now on, this story, as Shaw portrayed it, will haunt me forever!

(P.S. I don't think I can ever express my gratitude enough to you, Gayatri, for lending it to me and also for dragging me along to your Honours' classes. Dr. Gill simply enhanced the beauty of this masterpiece!)

\\n  “Don't think you can frighten me by telling me that I am alone. France is alone. God is alone. And the loneliness of God is His strength.”\\n



Joan spoke these powerful words when her supposed allies, the very ones she had helped rise to greatness, callously abandoned her to a cruel death. Their loyalty in life was a sham. Without Joan, they would have been lost. She was a warrior, but in the end, they treated her with such disregard. They used her to face France's enemies and when her task was completed, they cast her aside as if she were nothing. She was expendable to them, a mere tool that they tolerated only when she was useful and discarded once her "miracles" seemed to wane.

This is the heart-wrenching tragedy of this play and tale. Joan wholeheartedly believed in her visions, convinced that the voices she heard were divinely inspired. By modern standards, she might have been diagnosed with a mental disorder like bipolar or schizophrenia. But who can truly determine what is real and what is not? For Joan, it was all too real, and for those who followed her, it was real as well. The story of Joan is almost beyond belief, so extraordinary that it defies all logic. It is like a strange anomaly on the historical timeline. There must have been something truly remarkable about her, something that defies rational explanation, to have achieved such astonishing success.

Perhaps it was her unwavering faith, her indomitable spirit, or her connection to something greater. Whatever it was, Joan's story continues to captivate and inspire, a testament to the power of one person's信念 in the face of overwhelming odds.

If you happened to have overlooked the events of the last 600 years, allow me to introduce you to the renowned Jeanne d'Arc. More commonly known as Joan, she started out as a young farm girl. However, when she heard the voices of her Lord and countless saints imploring her to take action against the horde of English soldiers encroaching upon her beloved French homeland, she presented herself at the doorstep of the uncrowned King Charles VII with a divine mission. King Charles was deeply impressed by her ambition and confidence, and he entrusted her with the command of a battalion. Miraculously, she defeated the English troops at Orleans. Her career then continued with several more remarkable victories. She became a national, if not international, superstar - a feminist icon in an era long before the advent of feminism. She even had the honor of crowning the new King of France in the magnificent Notre-Dame de Reims.

Unfortunately, tragedy soon struck. Joan was captured by the English at Compiègne. Instead of being granted the traditional prisoner of war's ransom, she was subjected to a politically motivated trial. In this trial, she was found guilty by the Church of twelve counts of heresy. Subsequently, she was handed over to the secular authorities for punishment and was ultimately burned at the stake.

That, in essence, is the story. Certain aspects are indeed debated by historians. For instance, her military role might have been more focused on boosting morale rather than actual fighting and planning. Additionally, my use of the term "feminist" could potentially be challenged (and perhaps would have been challenged by Joan herself). Nevertheless, she remains a larger-than-life figure. The fact that you didn't even need me to tell you her story indicates that history has not forgotten her. In 1920, Pope Benedict XV canonized Joan as a Saint of the Roman Catholic Church. It was around this time that George Bernard Shaw began working on this play, which was published in 1923.

The play itself is not overly exciting. It does much of what I just did in this review; it presents a rather standard retelling of the Joan of Arc story. It will hold your attention, but it won't exactly thrill you. Shaw omits the battle scenes, leaving us with political and philosophical exchanges among the cast of soldiers, officers, priests, servants, and the ever-inspiring Joan.

However, things truly become interesting after Joan's death. The epilogue features King Charles twenty-five years after Joan's burning, dreaming in his bed and visited by ghosts from his past. It is in this very Shakespearean ending that Shaw finally discovers his inspiration. So, it would be advisable to read the first scenes of this play quickly in order to reach this, the truly good part.