St.

Joan George Bernard Shaw

George Bernard Shaw (26 July 1856 2 November 1950), known at his insistence simply as Bernard Shaw,
was an Anglo-Irish playwright, critic and polemicist whose influence on Western theatre, culture and politics
extended from the 1880s to his death and beyond. He wrote more than sixty plays, including major works such
as Man and Superman (1902), Pygmalion (1912), and Saint Joan (1923). With a range incorporating both
contemporary satire and historical allegory, Shaw became the leading dramatist of his generation, and in 1925
was awarded the Nobel Prize in Literature.
Born in Dublin, Shaw moved to London in 1876, where he struggled to establish himself as a writer and
novelist, and embarked on a rigorous process of self-education. By the mid-1880s he had become a respected
theatre and music critic. Following a political awakening, he joined the gradualist Fabian Society and became
its most prominent pamphleteer. Shaw had been writing plays for years before his first public success, Arms
and the Man in 1894. Influenced by Henrik Ibsen, he sought to introduce a new realism into English-language
drama, using his plays as vehicles to disseminate his political, social and religious ideas. By the early twentieth
century his reputation as a dramatist was secured with a series of critical and popular successes that included
Major Barbara, The Doctor's Dilemma and Caesar and Cleopatra.
Shaw's expressed views were often contentious; he promoted eugenics and alphabet reform, and opposed
vaccination and organised religion. He courted unpopularity by denouncing both sides in the First World War as
equally culpable, and although not a republican, castigated British policy on Ireland in the postwar period.
These stances had no lasting effect on his standing or productivity as a dramatist; the inter-war years saw a
series of often ambitious plays, which achieved varying degrees of popular success. In 1938 he provided the
screenplay for a filmed version of Pygmalion, for which he received an Academy Award. His appetite for
politics and controversy remained undiminished; by the late 1920s he had largely renounced Fabian gradualism
and often wrote and spoke favourably of dictatorships of the right and lefthe expressed admiration for both
Mussolini and Stalin. In the final decade of his life he made fewer public statements, but continued to write
prolifically until shortly before his death, aged 94, having refused all state honours, including the Order of Merit
in 1946.
Since Shaw's death, scholarly and critical opinion has varied about his works, but he has regularly been rated as
second only to William Shakespeare among English-language dramatists; analysts recognise his extensive
influence on generations of playwrights. The word "Shavian" has entered the language as encapsulating Shaw's
ideas and his means of expressing them.
Saint Joan is a play by George Bernard Shaw, based on the life and trial of Joan of Arc. Published in 1924, not
long after the canonization of Joan of Arc by the Roman Catholic Church, the play dramatises what is known of
her life based on the substantial records of her trial. Shaw studied the transcripts and decided that the concerned
people acted in good faith according to their beliefs. He wrote in his preface to the play:
There are no villains in the piece. Crime, like disease, is not interesting: it is something to be done away with by
general consent, and that is all [there is] about it. 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 concern us.
Michael Holroyd has characterised the play as "a tragedy without villains" and also as Shaw's "only tragedy".
John Fielden has discussed further the appropriateness of characterising Saint Joan as a tragedy.

The text of the published play includes a long Preface by Shaw.

***
Context
Sometime around 1412, Joan of Arc was born in Domremy, France. It was a small village, and Joan grew up in
a peasant family. Although she was known for her skill and her hard work, she seemed fairly ordinary except for
her extreme piousness. In 1425, around age 13, Joan started hearing "voices" which she claimed were the voices
of Saint Catherine, Saint Margaret, and Saint Michael. She said these voices commanded her to aid the
Dauphin, Charles, in his fight against England and Burgundy, and to see him crowned as the King of France at
Reims. Reims was the traditional location where French kings were crowned. But because Reims was in
English hands, Charles had not been able to hold a coronation ceremony yet, though his father had been dead
for years.
When Joan went to Vaucouleurs to offer her aid, she was initially laughed away. In February of 1429, however,
she was granted an audience with the Dauphin. He was superstitious and in dire straits in his battle against the
English and Burgundians, so he sent her with a contingent of troops to aid in the Siege of Orleans, a long
stalemate in which the English had surrounded the city of Orleans with fortresses. Joan followed sudden
commands from her voices and stumbled upon a battle between English and French forces. Rallying the French
troops, she drove the English out of fort after fort, decisively ending the siege and earning herself popularity
throughout France as the miraculous "Maid of Orleans."
After subsequently defeating the English again at the Battle of Patay, Joan brought Charles to Reims, where he
was officially crowned King Charles VII on July 17. On the way from Reims, Joan and the Duke of Alencon
suggested that the French attempt to take English-controlled Paris. But after a promising first day of fighting,
Charles called off the assault on Paris; he was running low on funds. He recalled the army south and disbanded
much of it. Charles then named Joan and her family to French nobility, in thanks for Joan's services to France.
Joan continued to fight for Charles's interests, but her luck had run out. In May of 1430, while holding off
Burgundian troops at the Battle of Compiegne so the French townspeople could flee, Joan was captured by John
of Luxembourg. Joan was so popular and such a valuable symbol to the pro-Charles side (the Armagnacs) that
the English and Burgundians knew killing her immediately would cause an outrage and create a martyr. Instead,
they enlisted the church to discredit her first.
After two escape attempts, including a leap from sixty-foot tower, Joan came to trial under Bishop Pierre
Cauchon for suspected heresy and witchcraft. Cauchon, who continually tried to make her admit that she had
invented the voices, found her guilty of heresy. Before being handed over to secular authorities, Joan signed an
abjuration admitting that her previous statements had been lies. But after a few days, she said she hadn't meant
the abjuration, and she was sentenced to burn at the stake. Only nineteen, Joan was burned on May 30, 1431.
Summary
Shaw characterized Saint Joan as "A Chronicle Play in 6 Scenes and an Epilogue". Sometime around 1412,
Joan of Arc was born in Domremy, France. It was a small village, and Joan grew up in a peasant family.
Although she was known for her skill and her hard work, she seemed fairly ordinary except for her extreme

piousness. In 1425, around age 13, Joan started hearing "voices" which she claimed were the voices of Saint
Catherine, Saint Margaret, and Saint Michael. She said these voices commanded her to aid the Dauphin,
Charles, in his fight against England and Burgundy, and to see him crowned as the King of France at Reims.
Reims was the traditional location where French kings were crowned. But because Reims was in English hands,
Charles had not been able to hold a coronation ceremony yet, though his father had been dead for years.
When Joan went to Vaucouleurs to offer her aid, she was initially laughed away. In February of 1429, however,
she was granted an audience with the Dauphin. He was superstitious and in dire straits in his battle against the
English and Burgundians, so he sent her with a contingent of troops to aid in the Siege of Orleans, a long
stalemate in which the English had surrounded the city of Orleans with fortresses. Joan followed sudden
commands from her voices and stumbled upon a battle between English and French forces. Rallying the French
troops, she drove the English out of fort after fort, decisively ending the siege and earning herself popularity
throughout France as the miraculous "Maid of Orleans."
After subsequently defeating the English again at the Battle of Patay, Joan brought Charles to Reims, where he
was officially crowned King Charles VII on July 17. On the way from Reims, Joan and the Duke of Alencon
suggested that the French attempt to take English-controlled Paris. But after a promising first day of fighting,
Charles called off the assault on Paris; he was running low on funds. He recalled the army south and disbanded
much of it. Charles then named Joan and her family to French nobility, in thanks for Joan's services to France.
Joan continued to fight for Charles's interests, but her luck had run out. In May of 1430, while holding off
Burgundian troops at the Battle of Compiegne so the French townspeople could flee, Joan was captured by John
of Luxembourg. Joan was so popular and such a valuable symbol to the pro-Charles side (the Armagnacs) that
the English and Burgundians knew killing her immediately would cause an outrage and create a martyr. Instead,
they enlisted the church to discredit her first.
After two escape attempts, including a leap from sixty-foot tower, Joan came to trial under Bishop Pierre
Cauchon for suspected heresy and witchcraft. Cauchon, who continually tried to make her admit that she had
invented the voices, found her guilty of heresy. Before being handed over to secular authorities, Joan signed an
abjuration admitting that her previous statements had been lies. But after a few days, she said she hadn't meant
the abjuration, and she was sentenced to burn at the stake. Only nineteen, Joan was burned on May 30, 1431.
Important Terms and Places
Abjuration - An oath by which one renounces a previous belief or oath
Domremy - The French village where Joan of Arc was born
Reims - A city in northeastern France. This was the traditional place where French kings were crowned. Joan of
Arc was obsessed with the need for Charles, the Dauphin, to have a formal coronation in Reims, which was
controlled by Anglo-Burgundian forces at the time.
Rouen - French city northwest of Paris, where Joan of Arc was burned at the stake
Characters
Joan of Arc, often referred to as The Maid Joan is, of course, the central character of the play. Based upon the
historical character, Shaw presents her as a simple country girl who is uneducated but not unintelligent. For the
public, Joan, according to Shaw's Preface, offers her brilliant ideas in terms of voices from heaven which speak

to her. Early in the play, she establishes her superiority in terms of military tactics and strategy, always knowing
where to place the cannons and other artillery. Until her capture, she proves that her military strategy is
flawless. Throughout the play, in all sorts of situations, Joan's basic honesty and her innocence shine through all
of the hypocrisy of the others, and when her judges use complicated ecclesiastical terms to trap her, her basic
common sense makes them look stupid. She is, however, inexperienced in the ways of the medieval society and
ignorant of the jealousies of the feudal system. Her belief in the rightness of her own conscience and her refusal
to yield to the authority of the Church have caused Shaw and others to refer to her as the first Protestant to be
martyred by the Catholic Church.
Robert de Baudricourt A gentlemanly squire from Joan's district, Lorraine; he is the first person of position or
rank to back The Maid's plans. Through him, Joan is able to obtain her first armor and her first chance to show
her military skills.
Bertrand de Poulengey (Polly) One of Joan's first converts, he aids Joan in getting an audience with Robert de
Baudricourt, and he later rides with her in the Battle of Orleans.
The Archbishop of Rheims The churchman who, at first, sees Joan as a pious and innocent girl, one who is in
close service with God. As Joan proves to be constantly right, however, and, later, when Joan is responsible for
crowning the Dauphin king, the Archbishop becomes disheartened with The Maid and, ultimately, sides against
her.
Monseigneur de la Trmouille The Lord Chamberlain in the court of the Dauphin and also the "commanderin-chief" of the French forces. He has been accustomed to bullying the Dauphin, and, therefore, he deeply
resents Joan when she is given command of the French forces.
The Dauphin Later to be crowned Charles VII in the Rheims cathedral,
Dunois (The Bastard) The young, popular, and efficient leader of the French forces who recognizes Joan's
military genius but in the final battle is not convinced that she should be saved.
The Earl of Warwick The English earl in charge of the English forces and Joan's most bitter and avid secular
opponent. He sees Joan's simple opinions that the people should give their allegiance directly to the king as
being a threat to the loyalty that the feudal lords demand from their serfs. He demands Joan's death as a way of
retaining the status quo of the feudal system.
John de Stogumber The Earl of Warwick's chaplain. At first, he is seen as a vicious and ferocious accuser of
Joan's. He sees her in the most simplistic terms as a witch who should be burned without delay. He does not
understand either the most complicated or the most subtle arguments concerning Joan's threat to the Church and
to the aristocracy. However, the most dramatic change of the entire drama occurs in the person of de Stogumber;
after he has witnessed the burning of The Maid, he becomes a weak, broken man who spends the rest of his life
trying to do good deeds for others in order to alleviate his guilt for his vicious attacks against The Maid.
Pierrre Cauchon The academic theologian who represents the "considered wisdom of the Church." For him,
Joan represents a direct threat to the historical power invested in the Church, and he is proud that he has never
asserted his own individuality and has always yielded to the opinion of the Church. For Joan to assert her own

private conscience, to rely upon her own judgments, and to commune directly with God without the intervention
of the Church is, to Cauchon, heresy in its highest form.
The Inquisitor Physically, the Inquisitor looks like a kindly and sweet elderly gentleman. However, he
represents the institutions of the Church in their most iron-clad disciplines. He believes strongly in the rightness
of these institutions and in the collected wisdom of the Church. The individual conscience must be subjected to
the authority of the Church, not just in this particular instance but throughout all time. His long rambling speech
on heresy shows him to be a defender of these institutions and one who rejects any type of individualism.
D'Estivet The prosecutor against Joan; he is often impatient with the subtle questions of the court, and his case
is based on pure legalism.
Courcelles A young priest who has been of help in compiling some sixty-four charges against The Maid; he is
incensed that many of the charges ("She stole the Bishop's horse") have been dismissed by the court.
Brother Martin Ladvenu A sympathetic young priest who wants to save Joan's life and who is seemingly
deeply concerned about Joan's inability to intellectually distinguish or understand the charges made against her.
He feels her only sin is her ignorance, but once she is sentenced, he declares her imprisonment to be just.
However, he holds up the cross for Joan to see while she is on her funeral stake, and he is instrumental in Joan's
rehabilitation.
The Executioner He represents the horrors of the stake. His other importance is that he reports that The Maid's
heart would not burn.
An English Soldier He is the common soldier who makes a cross out of two sticks and gives it to Joan. For this
deed, he receives one day a year out of Hell.
Duke of Alencon - French Duke who almost always supported Joan of Arc's ideas
Burgundy - Philip the Good, also known as the Duke of Burgundy, or "Burgundy" for short, competed with the
Valois king Charles during the Hundred Years' War for control over certain French territories. Those who
supported Philip against the claims of the pro-Charles party (the Armagnac party) were called "Burgundians."
Charles VII, The Dauphin - French King from 1422 to 1461, during much of second phase of the Hundred
Years' War. Because at the time of his father's death the traditional site of coronations, Reims, was under
English control, he assumed control without being ceremonially crowned. Thus Joan of Arc called him the
"Dauphin," the name for the crown prince of France, until 1429, when the coronation finally could take place at
Reims. Charles was the Valois claimant to the kingship of the War's disputed lands, and those who supported
him were called "Armagnacs." The Dauphin is portrayed as weak, sniveling, and unconcerned about matters of
the court or of the country. He is forced by The Maid to become more manly and to assume an authority that he
does not want.
Gilles de Rais(Bluebeard) - A wealthy nobleman who fought at Joan of Arc's side at the Siege of Orleans.
Years later, Gilles de Rais managed to squander his massive fortune and was hanged after a trial for Satanism,
abduction, and murdering children.
John of Luxembourg - One of the Duke of Burgundy's important commanders, John of Luxembourg captured
Joan at the Battle of Compiegne.
La Hire - French military commander along with Joan of Arc and Gilles de Rais at the Siege of Orleans.

Pierre of Arc - Joan's brother, who went with her to the Battle of Compiegne
Saint Catherine - Saint Catherine of Alexandria was a martyred saint who was the patron of philosophers and
scholars. Joan of Arc claimed that one of the "voices" she heard was Saint Catherine's.
Saint Margaret - A saint whose voice Joan of Arc claimed to hear.
Saint Michael - One of the saints Joan of Arc claimed to hear speaking in her head.
Literary Elements
Symbols, Allegory and Motifs
The play starts with Robert de Baudricourt talking with his steward about the fact that the hens stopped laying
eggs. Robert accuses his steward of stealing them but he assures his lord that he had nothing to do with them.
The steward then tells Robert that the girl who came to see him a few days again was still there and was waiting
to be heard. The steward began to believe what she was telling and he tells Robert that she is sent from God to
raise the siege of Orleans.
Robert finds that the girl convinced some of his men and two of his noblemen so he called them to him to hear
what they have to say about the girl. They expressed their faith in her and after that, Robert called the girl to
hear what she had to say. Joan told him that she hears voices from god telling her that she will save France from
the Englishmen and Robert decides to send her to the King.
After Joan leaves, the hens start to lay eggs and Robert sees this as a sign that she was indeed who she said she
was.
At the court, King Charles is exited to hear that an angel wants to speak with him. despite the archbishops
protests, the king agrees to speak with Joan and he is surprised when she knows that he tried to tick her by
putting someone else sit on the throne. He speaks with her and she convinces him to give her command to his
army, to Lord Chamberlains displeasure.
Joan arrives to the battlefield and there she encounters Dunois. As soon as Joan arrives, the wind changes and
Dunois sees this as a sign that they can beat the Frenchmen so he gives the command of the army to Joan.
The Englishmen plan to have Joan killed after they suffer defeats lead by her and believe that if they offer the
right price, she will be sold to them by her own country and then they will accuse her of heresy.
This comes to pass as Joan is sold after the coronation and then is judged as a heretic. It is decided that she must
be burnt as a witch but her heart refused to burn.
The play ends with an epilogue, in which king Charles is visited by Ladvenu who tells him about what
happened with Joan and that after 25 years, her name has been cleared. Charles dreams about Joan and tells her
about the new trial but she concludes sadly that the trial wont bring her back.
Metaphors and Similes
Westwind- In the play, the west wind is used as a symbol for the unfavorable situations which kept the French
from winning the war against the English. The French were unable to act against the English because of the
west wind that prevented them from getting the help they needed. When Joan appeared, the west wind changed
and thus the French started fighting against the English.

Throne- The throne it is usually a symbol for regal power used in literature. In Saint Joan however, King
Charles admits that even though he sits on the throne, others rule in his place. For Charles, his throne is not a
visible symbol of the absolute power he is supposed to have, but of his incapacity of being a true king.
False faith- Shaw uses the Archbishop to symbolize those who have a false faith. The archbishop was supposed
to be the most pious man but yet he refuses to believe in Joan and in her powers. He questions how true the
miracles that happen in her presence are and says that she is a fraud, nothing more than a talented woman who
can influence the others.
Unworthy king- King Charles is the type of king who got his position only because he had the right blood and
nothing more. He is inadequate to be a king and those around him see this but they are unable to do anything
about it. King Charles can be considered as a symbol of all those kings who ended up doing nothing good but
continued to rule all their life only because they were born in the royal family.
Perfect model/women- Joan is more than just a girl: she is a model, the perfect mold and example of how faith
should work in a person. She is a saint and probably she doesnt know it. Joan is used to symbolize the pure
faith and how powerful God can be, Joan proving that with Gods help, everything is possible.
Imagery
Incompetent servant- In the beginning of the play, Robert describes his steward as being the most incompetent
type of person, unable to perform what he was asked to do. This image only amplifies as the play continues and
we are presented with the complete image of the steward, despised by his master.
Coward- When Joan talks about the French army and why they always lose, she creates a dismal image of an
army that is disorganized and loyal only to them. We are presented with the image of coward soldiers, who only
care about their own skin and who care only about profit.
Incompetent king- When King Charles appears for the first time in the play, we are described a child rather
than a King. He hides behind the archbishop and fears Bluebeard and is treated as a child. Instead of portraying
him as a powerful king, Charles is presented as the most incompetent king who could rule over France.
Uncomfortable clothes- The image of the incompetent king only gets more accentuated at the end of the play,
when the King is coronated. Instead of feeling confident and powerful, he detests the cloths he was forced to
wear in order to look like a king and we are left to know that even if Charles looks like a king, it is just a false
image and he is still the child-like man presented in the beginning of the play.
Bluebeard- Bluebeard is the type of political man that would like to sit on the throne instead of King Charles.
He offers himself to pretend to be the King when Joan first came to the court and we are presented with a
cunning man, the perfect image of the ambitious politician who desires more power than he has.
Tone and Mood- Ironic and tragic.
Foreshadowing- Joan prophesies her own death when she says that France will get to the point when all the
English will be gone but that she wont be alive to see it.
Understatement- When Joan says that she will make sure that only the French will live in her country proves to
be a lie as she will die before that could happen completely.
Allusion- When the Englishman and the bishop talk about how they could catch Joan, an allusion is made to
what her end will be, and that is burned as a witch.
Paradox-The was Joan dies is a paradox in the book in the sense that she is killed by the institution she loves
the most.
Parallellism- There are many similarities between the life of Saint Catherine of Alexandria who was sending
Joan visions and Joans own life. They converted to Christianity at an early age, convinced many to follow their
examples and died as martyrs at about the age of 18.

Personification- I, God forgive me, am a little in love with war myself, the ugly devil!
Dramatic devices- There are almost no stage directions in the play, but the narrator chooses to characterize the
characters in a direct manner at the beginning of every Scene. Through those descriptions, we are presented
with the full picture of a character, including his or her social status, appearance and personal traits.
Events
Battle of Compiegne - Battle in which Joan of Arc was captured by John of Luxembourg, in May of 1430.
Hundred Years' War - Period of sporadic fighting between England and France between 1337 and 1453
(actually more than 100 years), over who should rule certain French territories. During Joan of Arc's time the
two candidates were the Valois king Charles, supported by the French Armagnacs, and the Duke of Burgundy,
who was allied with England. The Siege of Orleans in 1429 was an important turning point in this battle.
Siege of Orleans - Crucial battle in the Hundred Years' War, from October 12, 1428 to May 8, 1429. The
French pro-Charles forces (the Armagnacs) managed to break the stalemate after Joan of Arc's arrival lifted their
spirits.
Battle of Patay - A June 1429 battle in which the French Armagnac forces thoroughly routed the AngloBurgundian forces, helping to open the way to Reims for the Dauphin's coronation.
Timeline
1412: Joan of Arc born and baptized in Domremy
1425: Joan begins to hear voices
1428: Joan travels to Vaucouleurs (prompted by voices), and asks to join the Dauphin but is turned away.
1429: Joan journeys again to Vaucouleurs to ask to join the Dauphin's forces; this time she is accepted.
February 13, 1429: Joan leaves Vaucouleurs dressed in men's clothing and heads to Chinon, where the Dauphin is
staying. Once there, she asks to help France fight the English and the Burgundians; Charles orders her interrogation by
Churchmen for the next three weeks.
April 1429: Dauphin gives Joan command of a small force.
April 27, 1429: Joan and her troops set out from Blois to relieve French forces at the Siege of Orleans
April 29, 1429: Joan and La Hire reach Orleans, where they are told to wait for reinforcements.
May 4, 1429: After a sudden inspiration, Joan leads an attack on the English.
May 7, 1429: Wounded, Joan nonetheless leads a battle at Les Tourelles.
May 9, 1429: Joan travels to Tours, where she asks the Dauphin to go immediately to Reims for a coronation ceremony.
June 18, 1429: Battle of Patay
July 16, 1429: Dauphin's army reaches Reims
July 17, 1429: The Dauphin is crowned King of France
July 20, 1429: Charles leaves Reims and parades around region
August 2, 1429: Charles retreats to Loire
August 14, 1429: French and English forces skirmish at Senlis
August 28, 1429: Burgundy and France sign a four-month truce
September 8, 1429: Assault on Paris begins
December 1429: Charles raises Joan, her parents, and her brothers to nobility status
May 14, 1430: Joan reaches Compiegne
May 25, 1430: Paris learns of Joan's capture
January 3, 1431: Joan transferred to Bishop Pierre Cauchon's control for interrogation.
January 13, 1431: Joan's trial begins
May 24, 1431: Upon the reading of her sentence, Joan, frightened, signs a last- minute abjuration
May 29, 1431: After rescinding her abjuration, Joan is transferred from ecclesiastic to secular authority.
May 30, 1431: Joan is burned at the stake

1450: Charles VII orders an investigation into Joan of Arc's trial

May 16, 1920: Pope Benedict XV makes Joan of Arc a saint