Die Jungfrau von Orleans

Die Jungfrau von Orleans. Eine romantische TragödieThe Maid of Orleans. A Romantic Tragedy (first published 1801 [dated 1802]; first performed 1801)

Historical Context

The play is set in 1429-31 during the Hundred Years’ War (1337-1453) between England (royal family: Plantagenet) and France (royal family: Valois) and their allies for control of the French throne. The French had retreated after the English victory at Agincourt in 1415, but French fortunes were reversed by Joan of Arc (in French: Jeanne d’Arc; in German: Johanna d’Arc) (circa 1412-1431), a peasant girl from the village of Domrémy in Lorraine in eastern France. Joan led the French army to a series of victories which enabled the French King Charles VII (1403-1461) to be crowned in Reims in 1429. Joan was captured by the Burgundians and burnt at the stake by the English in 1431 at the age of nineteen.

Charles VI of France (1380-1422) had become insane in 1392. From this point on France was governed by his wife, Queen Isabeau (also known as Isabella) of Bavaria-Ingolstadt (1370-1435) and various regents. Court intrigue led to the murder (in 1407) of Louis d’Orléans, father of Jean de Dunois, Bastard of Orléans (1402-1468); this murder was blamed on John the Fearless, Duke of Burgundy (1371-1419) who was murdered by supporters of Orléans and the dauphin (prince). From 1419-1435 his son, Philip the Good, Duke of Burgundy (1396-1467) formed an alliance with the English. Queen Isabeau also sided with the English against her own son Charles VII. Therefore, at the beginning of Schiller’s play, the city of Orléans is besieged by English and Burgundian forces, led by Talbot, Lionel, Philip of Burgundy and Queen Isabeau. Charles VII, the uncrowned king of France, wants to persuade Philip of Burgundy to change sides, but Philip refuses, blaming Charles VII’s friend Du Chatel for his father’s murder.

The Play

Schiller’s play was first performed in Leipzig on 11 September 1801. It has many Romantic features including the medieval setting, Catholicism, nationalism, supernatural events, folk songs, an episodic structure and stylised characterisation. It deviates from the historical tradition in several important respects:

(1) The historical Joan of Arc led soldiers into battle, but did not engage in hand-to-hand combat herself. In contrast to this, Schiller’s Johanna is a warrior who does not spare her enemies, even when they surrender, as is the case with Montgomery in Act Two;

(2) Schiller’s Johanna reconciles Philip of Burgundy with Charles VII; in fact this reconciliation did not occur until 1435;

(3) Schiller’s Johanna falls in love with, and spares the life of, the English officer Lionel;

(4) the accusations of witchcraft are made by Johanna’s own father, Thibaut d’Arc;

(5) Schiller’s Johanna breaks her bonds like Samson and dies of her battle wounds; in fact Joan of Arc was captured by Burgundian soldiers in 1430, sold to the English, tried for heresy in 1431 and burned at the stake on 30 May 1431.

Schiller’s Johanna is stylised, and she stylises herself, as a legend. The first words she speaks are authoritative: ‘Gebt mir den Helm!’; ‘Give me the helmet!’ (line 191).

https://www.projekt-gutenberg.org/schiller/jungfrau/jfo01.html

Later she compares herself to Moses (lines 401-08) and to Samson (lines 3470-76).

Like Schiller’s other great heroine Maria Stuart, Johanna accepts her punishment (here, the accusation of witchcraft) as penance for a different transgression (loving Lionel).

The play hinges on the tension between Johanna’s (moral, spiritual) duty and her (physical, sensual) inclination, which Schiller expresses through her love for Lionel. Johanna asks: ‘Und bin ich strafbar, weil ich menschlich war?’; ‘And am I punishable because I was human?’ (Act Four, Scene 1, line 2567).

https://www.projekt-gutenberg.org/schiller/jungfrau/jfo41.html

How we answer this question depends on how we interpret Johanna and her mission. If, as many early commentators, we perceive her as a sublime figure fighting in a noble cause, then she is at fault when she wavers in her mission. But Johanna’s inability to show mercy to Montgomery in Act Two shows her in a very different light. Karl S. Guthke has argued persuasively that Johanna’s vow not to spare a single Englishman’s life is unnecessarily cruel, and should be cause for serious concern. On this point, see below, Karl S. Guthke (1996) and also Lesley Sharpe (1982), p. 131.

In the Prologue, Johanna’s two sisters Margot and Louison become engaged to two shepherds. Johanna’s father Thibaut d’Arc complains that Johanna does not want to marry Raimond, the man who loves her. Thibaut has dreamt that everyone bowed down before Johanna, even the king and all his nobles. Bertrand arrives with a helmet and Johanna demands it for herself. Bertrand describes the siege of Orléans; the French forces seem paralysed. Johanna becomes inspired and prophesies that a maiden will come and drive the English away. She bids farewell to her hills and pastures, and prepares for battle.

In Act One Dunois, the Bastard of Orléans, is exasperated by Karl [Charles VII], who wastes valuable resources entertaining messengers from King René of Provence. The Scottish troops insist on being paid and so Agnes Sorel gives her box of jewels to Karl. La Hire arrives with the news that Philipp of Burgundy refuses to be reconciled, and the English have had Henry VI crowned King of France. Raoul arrives and describes Johanna’s first military victory. When Johanna arrives, Karl tests her by making Dunois sit on his throne, but she recognises Karl. Johanna tells him the contents of his secret prayer and says that the Virgin Mary appeared to her, saying that a pure virgin can achieve anything if she resists earthly love. An English herald arrives and Johanna sends him packing.

In Act Two the English commanders Talbot and Lionel are shocked that they have just lost the battle of Orléans. They try to blame their ally Philipp of Burgundy, who threatens to leave. Isabeau arrives and reconciles the three men, who then round on her and tell her to leave. That night Johanna leads an attack on the English camp. Montgomery begs Johanna to spare him but she fights him and kills him. Johanna persuades Philipp of Burgundy to break with his English allies and rejoin the French side.

In Act Three Dunois and La Hire both want to marry Johanna. Du Chatel makes himself scarce so that his presence does not upset the reconciliation between Karl and Philipp of Burgundy. Johanna pleads with Philipp to forgive Du Chatel, and he responds: