Page 290 - DENG403_BRITISH_DRAMA

British Drama

Notes 23.6 Scene V

23.6.1 Summary
The setting is the “ambulatory,” or area behind the altar at the east end of a cathedral, of Rheims
Cathedral, shortly after the Dauphin has been crowned King Charles VII. Joan is at prayer. She is
interrupted by Dunois, who tells her the crowds outside are calling for her. Joan thanks Dunois for
his friendship, and wonders why “all these courtiers and knights and churchmen” hate her. Dunois
tells her that no one enjoys or appreciates being bested by those whom they regard as their inferiors.
When Joan announces her assumption that the French forces will now press on to recapture Paris,
Dunois warns her that she will not be allowed to do so. And, in fact when the newly anointed
Charles arrives, with Rais and La Hire, he does recoil at the thought of marching on for Paris. He
suggests making a treaty with the Burgundians instead: “[L]et us be content with what we have
done.” When Joan protests, the Archbishop de Chartres, who has just entered the scene, warns Joan
of her pride: “You forget yourself. You very often forget yourself.” And Dunois, even though he is
a friend to Joan, reminds her that his military generalship contributed in no small part to the French
successes: “I know exactly how much God did for us through The Maid, and how much He left me
to do by my own wits.” He states that Joan is in danger of being captured by her enemies if she
continues to press on against numerically superior forces.

A price of 16,000 English pounds is on her head, and Dunois knows that no one
from the army, the state, or the church will “lift a finger” to help Joan should she be captured. “You
stand alone,” the Archbishop tells her. Rather than causing Joan to despair, this statement seems to
determine her defiance and her resolve: “Yes. I have always been alone. France is alone; and God is
alone; and what is my loneliness before the loneliness of my country and my God?” She marches
out to meet the crowds who are calling for her, while her companions express sorrow over what
now seems to be her inevitable fate.

23.6.2 Analysis
As did Scene IV, Scene V illustrates the way in which “commonsense” and realism is turning against
Joan. Joan argues that no mystic voices need to make the commonsense case for “striking while the
iron is hot” and marching on to Paris. She appeals to the sensible reasons she has provided for all of
her actions, even if the promptings came from saints and angels. Dunois and the others do not
dispute any of this, but they do insist that commonsense dictates against any one coming to Joan’s
aid should she press too far. Dunois, for example, whom Shaw portrays as Joan’s strongest and
staunchest supporter in the play, makes the cool, level-headed calculation that he will not be able to
risk the lives of his men in an effort to rescue Joan, “much as I cherish her as a companion-in-arms.”
Joan’s cause has reached a point at which she would be better off, as she says, going home to her
farm. Part of her tragedy, as Shaw reads her story, is that Joan did not recognize her limitations and
the limitations of others. He does present her as prideful-and, as the Archbishop admonishes her,
alluding to a biblical proverb, “Pride will have a fall.” The falling action of Shaw’s classical tragedy
is clearly taking shape.

23.7 Scene VI

23.7.1 Summary

Two years after Scene V-May 30, 1431-Joan’s trial is coming to its close at the castle of Rouen. Cauchon
has convened the court. Canon John D’Estivet is the “promoter,” or prosecutor; and Brother John
Lemaitre is at the proceedings in his capacity as representative of the Inquisition. The Inquisition

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