Part 6
I do not complain of this, though it complains very unreasonably of me. But I can take no more notice of it than Einstein of the people who are incapable of mathematics. I write in the classical manner for those who pay for admission to a theatre because they like classical comedy or tragedy for its own sake, and like it so much when it is good of its kind and well done that they tear themselves away from it with reluctance to catch the very latest train or omnibus that will take them home. Far from arriving late from an eight or half-past eight o’clock dinner so as to escape at least the first half-hour of the performance, they stand in queues outside the theatre doors for hours beforehand in bitingly cold weather to secure a seat. In countries where a play lasts a week, they bring baskets of provisions and sit it out. These are the patrons on whom I depend for my bread. I do not give them performances twelve hours long, because circumstances do not at present make such entertainments feasible; though a performance beginning after breakfast and ending at sunset is as possible physically and artistically in Surrey or Middlesex as in Ober-Ammergau; and an all-night sitting in a theatre would be at least as enjoyable as an all-night sitting in the House of Commons, and much more useful. But in St Joan I have done my best by going to the well-established classical limit of three and a half hours practically continuous playing, barring the one interval imposed by considerations which have nothing to do with art. I know that this is hard on the pseudo-critics and on the fashionable people whose playing is a hypocrisy. I cannot help feeling some compassion for them when they assure me that my play, though a great play, must fail hopelessly, because it does not begin at a quarter to nine and end at eleven. The facts are overwhelmingly against them. They forget that all men are not as they are. Still, I am sorry for them; and though I cannot for their sakes undo my work and help the people who hate the theatre to drive out the people who love it, yet I may point out to them that they have several remedies in their own hands. They can escape the first part of the play by their usual practice of arriving late. They can escape the epilogue by not waiting for it. And if the irreducible minimum thus attained is still too painful, they can stay away altogether. But I deprecate this extreme course, because it is good neither for my pocket nor for their own souls. Already a few of them, noticing that what matters is not the absolute length of time occupied by a play, but the speed with which that time passes, are discovering that the theatre, though purgatorial in its Aristotelian moments, is not necessarily always the dull place they have so often found it. What do its discomforts matter when the play makes us forget them?
AYOT ST LAWRENCE,
_May 1924_.
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_Saint Joan was performed for the first time by The Theatre Guild in the Garrick Theatre, New York City, on the 28th December 1923, with Winifred Lenihan in the title-part. Its first performance in London took place on the 26th March 1924 in the New Theatre in St Martin’s Lane, with Sybil Thorndike as the Saint._
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CONTENTS
Preface— PAGE Joan the Original and Presumptuous v Joan and Socrates vii Contrast with Napoleon viii Was Joan Innocent or Guilty? x Joan’s Good Looks xiii Joan’s Social Position xiv Joan’s Voices and Visions xvii The Evolutionary Appetite xx The mere Iconography does not matter xxiii The Modern Education which Joan escaped xxiii Failures of the Voices xxvi Joan a Galtonic Visualizer xxviii Joan’s Manliness and Militarism xxviii Was Joan Suicidal? xxxi Joan Summed Up xxxii Joan’s Immaturity and Ignorance xxxiv The Maid in Literature xxxv Protestant Misunderstandings of the Middle Ages xl Comparative Fairness of Joan’s Trial xlii Joan not tried as a Political Offender xliv The Church uncompromised by its Amends xlviii Cruelty, Modern and Medieval l Catholic Anti-Clericalism liii Catholicism not yet Catholic Enough liv The Law of Change is the Law of God lvi Credulity, Modern and Medieval lviii Toleration, Modern and Medieval lix Variability of Toleration lxi The Conflict between Genius and Discipline lxiv Joan as Theocrat lxvi Unbroken Success essential in Theocracy lxvii Modern Distortions of Joan’s History lxviii History always out of Date lxix The Real Joan not Marvellous Enough for Us lxx The Stage Limits of Historical Representation lxxii A Void in the Elizabethan Drama lxxiii Tragedy, not Melodrama lxxv The Inevitable Flatteries of Tragedy lxxvi Some well-meant Proposals for the Improvement of the Play lxxviii The Epilogue lxxx To the Critics, lest they should feel Ignored lxxx
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SAINT JOAN
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SAINT JOAN
SCENE I
_A fine spring morning on the river Meuse, between Lorraine and Champagne, in the year 1429 A.D., in the castle of Vaucouleurs._
_Captain Robert de Baudricourt, a military squire, handsome and physically energetic, but with no will of his own, is disguising that defect in his usual fashion by storming terribly at his steward, a trodden worm, scanty of flesh, scanty of hair, who might be any age from 18 to 55, being the sort of man whom age cannot wither because he has never bloomed._
_The two are in a sunny stone chamber on the first floor of the castle. At a plain strong oak table, seated in chair to match, the captain presents his left profile. The steward stands facing him at the other side of the table, if so deprecatory a stance as his can be called standing. The mullioned thirteenth-century window is open behind him. Near it in the corner is a turret with a narrow arched doorway leading to a winding stair which descends to the courtyard. There is a stout fourlegged stool under the table, and a wooden chest under the window._
ROBERT. No eggs! No eggs!! Thousand thunders, man, what do you mean by no eggs?
STEWARD. Sir: it is not my fault. It is the act of God.
ROBERT. Blasphemy. You tell me there are no eggs; and you blame your Maker for it.
STEWARD. Sir: what can I do? I cannot lay eggs.
ROBERT [_sarcastic_] Ha! You jest about it.
STEWARD. No, sir, God knows. We all have to go without eggs just as you have, sir. The hens will not lay.
ROBERT. Indeed! [_Rising_] Now listen to me, you.
STEWARD [_humbly_] Yes, sir.
ROBERT. What am I?
STEWARD. What are you, sir?
ROBERT [_coming at him_] Yes: what am I? Am I Robert, squire of Baudricourt and captain of this castle of Vaucouleurs: or am I a cowboy?
STEWARD. Oh, sir, you know you are a greater man here than the king himself.
ROBERT. Precisely. And now, do you know what you are?
STEWARD. I am nobody, sir, except that I have the honor to be your steward.
ROBERT [_driving him to the wall, adjective by adjective_] You have not only the honor of being my steward, but the privilege of being the worst, most incompetent, drivelling snivelling jibbering jabbering idiot of a steward in France. [_He strides back to the table._]
STEWARD [_cowering on the chest_] Yes, sir: to a great man like you I must seem like that.
ROBERT [_turning_] My fault, I suppose. Eh?
STEWARD [_coming to him deprecatingly_] Oh, sir: you always give my most innocent words such a turn!
ROBERT. I will give your neck a turn if you dare tell me, when I ask you how many eggs there are, that you cannot lay any.
STEWARD [_protesting_] Oh sir, oh sir—
ROBERT. No: not oh sir, oh sir, but no sir, no sir. My three Barbary hens and the black are the best layers in Champagne. And you come and tell me that there are no eggs! Who stole them? Tell me that, before I kick you out through the castle gate for a liar and a seller of my goods to thieves. The milk was short yesterday, too: do not forget that.
STEWARD [_desperate_] I know, sir. I know only too well. There is no milk: there are no eggs: tomorrow there will be nothing.
ROBERT. Nothing! You will steal the lot: eh?
STEWARD. No, sir: nobody will steal anything. But there is a spell on us: we are bewitched.
ROBERT. That story is not good enough for me. Robert de Baudricourt burns witches and hangs thieves. Go. Bring me four dozen eggs and two gallons of milk here in this room before noon, or Heaven have mercy on your bones! I will teach you to make a fool of me. [_He resumes his seat with an air of finality_].
STEWARD. Sir: I tell you there are no eggs. There will be none—not if you were to kill me for it—as long as The Maid is at the door.
ROBERT. The Maid! What maid? What are you talking about?
STEWARD. The girl from Lorraine, sir. From Domremy.
ROBERT [_rising in fearful wrath_] Thirty thousand thunders! Fifty thousand devils! Do you mean to say that that girl, who had the impudence to ask to see me two days ago, and whom I told you to send back to her father with my orders that he was to give her a good hiding, is here still?
STEWARD. I have told her to go, sir. She wont.
ROBERT. I did not tell you to tell her to go: I told you to throw her out. You have fifty men-at-arms and a dozen lumps of ablebodied servants to carry out my orders. Are they afraid of her?
STEWARD. She is so positive, sir.
ROBERT [_seizing him by the scruff of the neck_] Positive! Now see here. I am going to throw you downstairs.
STEWARD. No, sir. Please.
ROBERT. Well, stop me by being positive. It’s quite easy: any slut of a girl can do it.
STEWARD [_hanging limp in his hands_] Sir, sir: you cannot get rid of her by throwing me out. [_Robert has to let him drop. He squats on his knees on the floor, contemplating his master resignedly._] You see, sir, you are much more positive than I am. But so is she.
ROBERT. I am stronger than you are, you fool.
STEWARD. No, sir: it isnt that: it’s your strong character, sir. She is weaker than we are: she is only a slip of a girl; but we cannot make her go.
ROBERT. You parcel of curs: you are afraid of her.
STEWARD [_rising cautiously_] No, sir: we are afraid of you; but she puts courage into us. She really doesnt seem to be afraid of anything. Perhaps you could frighten her, sir.
ROBERT [_grimly_] Perhaps. Where is she now?
STEWARD. Down in the courtyard, sir, talking to the soldiers as usual. She is always talking to the soldiers except when she is praying.
ROBERT. Praying! Ha! You believe she prays, you idiot. I know the sort of girl that is always talking to soldiers. She shall talk to me a bit. [_He goes to the window and shouts fiercely through it_] Hallo, you there!
A GIRL’S VOICE [_bright, strong and rough_] Is it me, sir?
ROBERT. Yes, you.
THE VOICE. Be you captain?
ROBERT. Yes, damn your impudence, I be captain. Come up here. [_To the soldiers in the yard_] Shew her the way, you. And shove her along quick. [_He leaves the window and returns to his place at the table, where he sits magisterially._]
STEWARD [_whispering_] She wants to go and be a soldier herself. She wants you to give her soldier’s clothes. Armor, sir! And a sword! Actually! [_He steals behind Robert_].
_Joan appears in the turret doorway. She is an ablebodied country girl of 17 or 18, respectably dressed in red, with an uncommon face: eyes very wide apart and bulging as they often do in very imaginative people, a long well-shaped nose with wide nostrils, a short upper lip, resolute but full-lipped mouth, and handsome fighting chin. She comes eagerly to the table, delighted at having penetrated to Baudricourt’s presence at last, and full of hope as to the result. His scowl does not check or frighten her in the least. Her voice is normally a hearty coaxing voice, very confident, very appealing, very hard to resist._
JOAN [_bobbing a curtsey_] Good morning, captain squire. Captain: you are to give me a horse and armor and some soldiers, and send me to the Dauphin. Those are your orders from my Lord.
ROBERT [_outraged_] Orders from your lord! And who the devil may your lord be? Go back to him, and tell him that I am neither duke nor peer at his orders: I am squire of Baudricourt; and I take no orders except from the king.
JOAN [_reassuringly_] Yes, squire: that is all right. My Lord is the King of Heaven.
ROBERT. Why, the girl’s mad. [_To the steward_] Why didnt you tell me so, you blockhead?
STEWARD. Sir: do not anger her: give her what she wants.
JOAN [_impatient, but friendly_] They all say I am mad until I talk to them, squire. But you see that it is the will of God that you are to do what He has put into my mind.
ROBERT. It is the will of God that I shall send you back to your father with orders to put you under lock and key and thrash the madness out of you. What have you to say to that?
JOAN. You think you will, squire; but you will find it all coming quite different. You said you would not see me; but here I am.
STEWARD [_appealing_] Yes, sir. You see, sir.
ROBERT. Hold your tongue, you.
STEWARD [_abjectly_] Yes, sir.
ROBERT [_to Joan, with a sour loss of confidence_] So you are presuming on my seeing you, are you?
JOAN [_sweetly_] Yes, squire.
ROBERT [_feeling that he has lost ground, brings down his two fists squarely on the table, and inflates his chest imposingly to cure the unwelcome and only too familiar sensation_] Now listen to me. I am going to assert myself.
JOAN [_busily_] Please do, squire. The horse will cost sixteen francs. It is a good deal of money; but I can save it on the armor. I can find a soldier’s armor that will fit me well enough: I am very hardy; and I do not need beautiful armor made to my measure like you wear. I shall not want many soldiers: the Dauphin will give me all I need to raise the siege of Orleans.
ROBERT [_flabbergasted_] To raise the siege of Orleans!
JOAN [_simply_] Yes, squire: that is what God is sending me to do. Three men will be enough for you to send with me if they are good men and gentle to me. They have promised to come with me. Polly and Jack and—
ROBERT. Polly!! You impudent baggage, do you dare call squire Bertrand de Poulengey Polly to my face?
JOAN. His friends call him so, squire: I did not know he had any other name. Jack—
ROBERT. That is Monsieur John of Metz, I suppose?
JOAN. Yes, squire. Jack will come willingly: he is a very kind gentleman, and gives me money to give to the poor. I think John Godsave will come, and Dick the Archer, and their servants John of Honecourt and Julian. There will be no trouble for you, squire: I have arranged it all: you have only to give the order.
ROBERT [_contemplating her in a stupor of amazement_] Well, I am damned!
JOAN [_with muffled sweetness_] No, squire: God is very merciful; and the blessed saints Catherine and Margaret, who speak to me every day [_he gapes_], will intercede for you. You will go to paradise; and your name will be remembered for ever as my first helper.
ROBERT [_to the steward, still much bothered, but changing his tone as he pursues a new clue_] Is this true about Monsieur de Poulengey?
STEWARD [_eagerly_] Yes, sir, and about Monsieur de Metz too. They both want to go with her.
ROBERT [_thoughtful_] Mf! [_He goes to the window, and shouts into the courtyard_] Hallo! You there: send Monsieur de Poulengey to me, will you? [_He turns to Joan_]. Get out; and wait in the yard.
JOAN [_smiling brightly at him_] Right, squire. [_She goes out_].
ROBERT [_to the steward_] Go with her, you, you dithering imbecile. Stay within call; and keep your eye on her. I shall have her up here again.
STEWARD. Do so in God’s name, sir. Think of those hens, the best layers in Champagne; and—
ROBERT. Think of my boot; and take your backside out of reach of it.
_The steward retreats hastily and finds himself confronted in the doorway by Bertrand de Poulengey, a lymphatic French gentleman-at-arms, aged 36 or thereabout, employed in the department of the provost-marshal, dreamily absent-minded, seldom speaking unless spoken to, and then slow and obstinate in reply: altogether in contrast to the self-assertive, loud-mouthed, superficially energetic, fundamentally will-less Robert. The steward makes way for him, and vanishes._
_Poulengey salutes, and stands awaiting orders._
ROBERT [_genially_]. It isnt service, Polly. A friendly talk. Sit down. [_He hooks the stool from under the table with his instep_].
_Poulengey, relaxing, comes into the room; places the stool between the table and the window; and sits down ruminatively. Robert, half sitting on the end of the table, begins the friendly talk._
ROBERT. Now listen to me, Polly. I must talk to you like a father.
_Poulengey looks up at him gravely for a moment, but says nothing._
ROBERT. It’s about this girl you are interested in. Now, I have seen her. I have talked to her. First, she’s mad. That doesnt matter. Second, she’s not a farm wench. She’s a bourgeoise. That matters a good deal. I know her class exactly. Her father came here last year to represent his village in a lawsuit: he is one of their notables. A farmer. Not a gentleman farmer: he makes money by it, and lives by it. Still, not a laborer. Not a mechanic. He might have a cousin a lawyer, or in the Church. These sort of people may be of no account socially; but they can give a lot of bother to the authorities. That is to say, to me. Now no doubt it seems to you a very simple thing to take this girl away, humbugging her into the belief that you are taking her to the Dauphin. But if you get her into trouble, you may get me into no end of a mess, as I am her father’s lord, and responsible for her protection. So friends or no friends, Polly, hands off her.
POULENGEY [_with deliberate impressiveness_] I should as soon think of the Blessed Virgin herself in that way, as of this girl.
ROBERT [_coming off the table_] But she says you and Jack and Dick have offered to go with her. What for? You are not going to tell me that you take her crazy notion of going to the Dauphin seriously, are you?
POULENGEY [_slowly_] There is something about her. They are pretty foulmouthed and foulminded down there in the guardroom, some of them. But there hasnt been a word that has anything to do with her being a woman. They have stopped swearing before her. There is something. Something. It may be worth trying.
ROBERT. Oh, come, Polly! pull yourself together. Commonsense was never your strong point; but this is a little too much. [_He retreats disgustedly_].
POULENGEY [_unmoved_] What is the good of commonsense? If we had any commonsense we should join the Duke of Burgundy and the English king. They hold half the country, right down to the Loire. They have Paris. They have this castle: you know very well that we had to surrender it to the Duke of Bedford, and that you are only holding it on parole. The Dauphin is in Chinon, like a rat in a corner, except that he wont fight. We dont even know that he is the Dauphin: his mother says he isnt; and she ought to know. Think of that! the queen denying the legitimacy of her own son!
ROBERT. Well, she married her daughter to the English king. Can you blame the woman?
POULENGEY. I blame nobody. But thanks to her, the Dauphin is down and out; and we may as well face it. The English will take Orleans: the Bastard will not be able to stop them.
ROBERT. He beat the English the year before last at Montargis. I was with him.
POULENGEY. No matter: his men are cowed now; and he cant work miracles. And I tell you that nothing can save our side now but a miracle.
ROBERT. Miracles are all right, Polly. The only difficulty about them is that they dont happen nowadays.
POULENGEY. I used to think so. I am not so sure now. [_Rising and moving ruminatively towards the window_] At all events this is not a time to leave any stone unturned. There is something about the girl.
ROBERT. Oh! You think the girl can work miracles, do you?
POULENGEY. I think the girl herself is a bit of a miracle. Anyhow, she is the last card left in our hand. Better play her than throw up the game. [_He wanders to the turret_].
ROBERT [_wavering_] You really think that?
POULENGEY [_turning_] Is there anything else left for us to think?
ROBERT [_going to him_] Look here, Polly. If you were in my place would you let a girl like that do you out of sixteen francs for a horse?
POULENGEY. I will pay for the horse.
ROBERT. You will!
POULENGEY. Yes: I will back my opinion.
ROBERT. You will really gamble on a forlorn hope to the tune of sixteen francs?
POULENGEY. It is not a gamble.
ROBERT. What else is it?
POULENGEY. It is a certainty. Her words, and her ardent faith in God have put fire into me.
ROBERT [_giving him up_] Whew! You are as mad as she is.
POULENGEY [_obstinately_] We want a few mad people now. See where the sane ones have landed us!
ROBERT [_his irresoluteness now openly swamping his affected decisiveness_] I shall feel like a precious fool. Still, if you feel sure—?
POULENGEY. I feel sure enough to take her to Chinon—unless you stop me.
ROBERT. This is not fair. You are putting the responsibility on me.
POULENGEY. It is on you whichever way you decide.
ROBERT. Yes: that’s just it. Which way am I to decide. You dont see how awkward this is for me. [_Snatching at a dilatory step with an unconscious hope that Joan will make up his mind for him_] Do you think I ought to have another talk to her?
POULENGEY [_rising_] Yes. [_He goes to the window and calls_] Joan!
JOAN’S VOICE. Will he let us go, Polly?
POULENGEY. Come up. Come in. [_Turning to Robert_] Shall I leave you with her?
ROBERT. No: stay here; and back me up.
_Poulengey sits down on the chest. Robert goes back to his magisterial chair, but remains standing to inflate himself more imposingly. Joan comes in, full of good news._
JOAN. Jack will go halves for the horse.
ROBERT. Well!! [_He sits, deflated_].
POULENGEY [_gravely_] Sit down, Joan.
JOAN [_checked a little, and looking to Robert_] May I?
ROBERT. Do what you are told.
_Joan curtsies and sits down on the stool between them. Robert outfaces his perplexity with his most peremptory air._
ROBERT. What is your name?
JOAN [_chattily_] They always call me Jenny in Lorraine. Here in France I am Joan. The soldiers call me The Maid.
ROBERT. What is your surname?