Divine Inspiration

Saint Joan 

by George Bernard Shaw

"The most inevitable dramatic conception, then, of the nineteenth century is that of a perfectly naive hero upsetting religion, law and order in all directions, and establishing in their palce the unfettered action of Humanity . . ." (GBS writing in The Perfect Wagnerite)





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 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.