Saint Joan

In Saint Joan Shaw attempted, and perhaps achieved, a masterpiece based on this conception. The play is a perfect example of the hero as victim transformed into savior. Shaw has developed his most enduring representation of the Life Force in Saint Joan, a protagonist who aspires to lead the common people by being a person of outstanding character and vision. Shaw's Saint Joan is witty and self-assured; she follows reason and common sense but does not conform to the stereotype of a religious martyr. Saint Joan is regarded as Shaw's only tragedy, although having many funny passages. However, it has also been described as a comedy with one tragic scene.

In the first scene the Robert de Baudricourt ridicules Joan, but his servant feels show more inspired by her words. Eventually de Baudricourt begins to feel the same sense of inspiration, and gives his consent to Joan. The servant enters at the end of the scene to exclaim that the hens, who had been unable to lay eggs, have begun to lay eggs again. De Baudricourt interprets this as a sign from God of Joan's divine inspiration. It is with this simple beginning that the spirited spirituality of the seemingly innocent young Joan begins to take over the play to the point where she is leading the French troops against the British. Her voice exhibits a lively purity that is augmented by an unlimited imagination.

Several values clash in Saint Joan's universe. The church is envious of its ability to rule the world. Although Joan's deed is mostly individualistic or Protestant in nature, England (Warwick) and France (Charles) are envious of their patriotic might. She supports the individual's right to define God whatever they see fit. In this historical incident, France is the fortunate beneficiary of Joan's whim and her military prowess. The play's underlying message is that there is no room for love or charity in Joan's world. The Catholic Church and English and French politicians, at best, are about shaky ideals like morality and patriotism and posture. I would visit the Inquisitor replies, "I would go to the stake myself. . . .”

Shaw's play features Joan as an outsider who seems lonely only when she is among those who voiced the common opinions of the day. Her multi-faceted personality is hidden behind her single-minded pursuit of a vision of god's design for her life. Saint Joan is a tragedy without villains. The tragedy exists in a view of human nature where the incredulity of intolerance of both religious and secular forces battle each other. It is made even more interesting by Shaw's epilogue that brings the play into the current time and provides an opportunity for Shaw to discuss the play with the audience. Whether this play is truly great or almost great it is definitely Shaw at his dramatic best. show less

It has been many years since I read Pygmalion by George Bernard Shaw and I don't think I've read any of his other works so decided to read Saint Joan to remedy this deficit in my reading. And, I must say, I'm very impressed. The play works really well on a number of levels. lIt hangs together as a story.......the characterisation is great.....the script flows naturally and well. And he also manages to weave into the story some of the great issues of life: a tension between church and state. And what was really brought home to me from the play was the fact that the church actually had sway over both France and England at the time and, in theory trumped the local lords (or kings). It's pretty clear that Shaw doesn't give much credence to show more Joan's powers of Miracles (such as the wind change on the river)....but he captures the power of such an event to influence the common people and the soldiers. I especially liked Shaw's introductory notes where he gives a lot of the history and his interpretation of it. To my mind, anyway, he captures a portrait of Joan and a self assured good natured country girl who seriously believes in the voices she hears. The powerful people around her, in general, just see her as a problem.
One thing that I thought might be rather hard for the producer to follow was Shaw's very clear descriptions of the main characters....including their facial features. Must have given the make-up artists a bit of a torrid time. Overall, I really liked the play. Five stars from me. show less

Joan of Arc, born in 1412, was burned at the stake in 1431, canonized by the Catholic Church in 1920, and, like most saints, whitewashed by history. Canonization tends to strip a saint of supposedly un-Christian attributes such as rebelliousness, pride, and intolerance. And Joan, despite having been a stubborn, haughty, naive, even foolish girl, has for much of history been remembered only as a pious martyr. However, George Bernard Shaw's play, Saint Joan, completed in 1925, began the modern rehabilitation of the icon as a fully human, fallible character--not to mention a poster girl for teenage rebellion and feminism. Shaw's Joan, like the real Maid of Orleans, leads the fight to drive the English out of her native France, insists on show more direct communication with her God instead of submitting to the mediation of Catholic priests, and refuses to dress, speak, or act according to traditional notions of how women were expected to behave. Until the closing scene of Shaw's play, however, neither Joan nor her foes are cast in neatly heroic terms. Both are earnestly pursuing their partial visions of the truth. In the play's famous epilogue, Shaw suggests that even 400 years later, most of us are so limited by our own perspectives that we are unable to tell the difference between a saint and a heretic. "O God that madest this beautiful earth, when will it be ready to receive Thy saints?" Joan asks, preparing for her death. "How long, O Lord, how long?" show less

This play is a powerful dramatic presentation of the public life and death of Joan of Arc. It defies easy genre categorisation, for example Scene I contains slapstick comedy between Sir Robert Baudricourt, his page, and Joan, while Scene IV contains lengthy and earnest discussion between those who will shortly lead Joan’s prosecution on the theological arguments for Joan’s heresy and necessary condemnation to death by burning, which they present in all seriousness and without, at least in their eyes if not in ours, any cruelty or insincerity. Of necessity, the six scenes plus epilogue telescope events into 7 days, including the whole of Joan’s lengthy examination, trial, near execution, recantation, relapse, and final burning into show more one single day. I am not sure the epilogue really worked for me, and a shorter and more punchy way of covering the nullification trial of 1456 night have been more effective. Some 40% of the overall length of the book is taken by the author’s lengthy preface where he ruminates on Joan’s significance and attitudes towards from a modern (1920s) point of view and I only skimmed this. This play is a powerful piece of drama and I would love to see it performed. show less

Shaw takes up the tale of "Joan of Arc, a village girl from the Vosges,...born about 1412, burnt for heresy, Witchcraft, and sorcery in 1431; rehabilitated after a fashion in 1456; designated venerable in 1904; declared Blessed in 1908; and finally canonized in 1920. She is the most notable Warrior Saint in the Christian Calendar, and the queerest fish among the eccentric worthies of the Middle Ages." Shaw was a protestant Irish Socialist and, thus his version is greatly freer in concept and interpretation than can be found in either French, or Catholic writers. While not a completely objective portrait, it is engaging, and highlights Joan's anti-clerical and feminist sides. Well worth the reading. I did not read this reprint but it show more probably has an interesting introduction as well as Shaw's origina; preface to this work. show less

Images of Falconetti burned into my mind as I read, perhaps music of Messiaen. Fete des belles eaux? This is a very orthodox tale of moral and legal convulsion. Add a dash of divine nationalism and voila.

This Joan was rather quick witted, other representations have as a nascent martyr. Her oppressors, oppressively oafish--while Bluebeard muses of the Divine Rights and the souls of lumpen children (entertaining something ghastly--only Allah knows.

GB Shaw has impressed me this week, not only for the scale of his vision but the complexity of his characters. There is always tenderness and treachery afoot, often in the same character on a single page.

The play 's the thing. Saint Joan is an excellent example of Shaw's work and, I think, that excellence coupled with the time of Joan's becoming a saint gave Shaw the Swedish Merit Badge.

Shaw's preface is too clever by half and the self important lecture can be skipped with no real harm to understanding the play. The play itself is notable for a lack of villians. That makes it extraordinary and much of the dialouge is skilled and thoughtful.