Saintly vs. demonic Henry VI, Part 1

joan , furies william hamilton (1790)

demons, spirits, witches, saints , god mentioned on numerous occasions within play, relating directly joan, presented fascinating mixture of saint, witch, naïve girl, clever woman, audacious warrior , sensual tart. english continually refer witch , whore, french saint , saviour, , play seems waver between these 2 poles: joan first appears in state of beatitude, patient, serene, divinest creature of charles adoration, object of virgin mary s miraculous intercession, chosen rescue france, , made beautiful, courageous , wise [...] on other hand, , virtually @ same time, s combination of demonic, machiavellian, , marlovian.

joan introduced play bastard, who, before has seen or met her, says, holy maid hither me bring (1.2.51). later, after joan has helped french lift siege of orléans, charles declares, no longer on saint denis cry, joan la pucelle shall france s saint (1.7.28–30). similarly, when joan reveals plan turn burgundy against english, alençon declares, ll set thy statue in holy place/and have thee reverenced blessed saint (3.3.14–15).

on other hand, however, english see demon. prior combat talbot, exclaims, devil or devil s dam, ll conjure thee./blood draw on thee – thou art witch –/and straightway give thy soul him thou serv st (1.6.5–7). then, after fight, says, thoughts whirl d potter s wheel./i know not nor do./a witch, fear, not force, hannibal,/drives our troops , conquers lists (1.6.19–22). upon arriving in france, bedford condemns charles aligning himself joan: how wrongs fame,/despairing of own arms fortitude,/to join witches , of hell (2.1.16–18). talbot responds with, well, let them practice , converse spirits./god our fortress (2.1.25–26). later, talbot refers pucelle, witch, damn d sorceress (3.2.37) , foul fiend of france, , hag of despite (3.2.51), declaring speak not railing hecate (3.2.64). prior executing her, york calls fell banning hag (5.2.42).

joan herself addresses issue executed:

first let me tell whom have condemned:

not me begotten of shepherd swain,

but issued progeny of kings;

virtuous , holy, chosen above

by inspiration of celestial grace

to work exceeding miracles on earth.

i never had wicked spirits;

but you, polluted lusts,

stained guiltless blood of innocents,

corrupt , tainted thousand vices –

because want grace others have,

you judge straight thing impossible

to compass wonders of devils.

no, misconceiv d, joan of arc hath been

a virgin tender infancy,

chaste , immaculate in thought,

whose maiden blood, rigorously effused,

will cry vengeance @ gates of heaven.

(5.5.36–53)

having failed in efforts convince english holy virgin, , killing invoke wrath of heaven, alters story , claims pregnant, hoping spare sake of child. lists off various french nobles child s father in effort find 1 english respect. in sense then, joan leaves play neither saintly nor demonic, frightened woman pleading fruitlessly life.

an important question in examination of joan question of whether or not unified, stable character vacillates saintly demonic, or poorly constructed character, 1 thing, other. according edward burns, joan cannot read substantive realist character, unified subject coherent singly identity.

michael hattaway offers alternate, sympathetic view of joan argues character s movement saintly demonic justified within text: joan play s tragic figure, comparable faulconbridge in king john. turns witchcraft in despair; cannot taken unequivocal manifestation of diabolic power.

another theory joan comic figure, , huge alterations in character supposed evoke laughter. michael taylor, example, argues, fiendish provenance replaces divine 1 in [act 5, scene 5], scene reduces joan comic, bathetic dependency on shifty representatives of underworld. in line thinking, worth pointing out in 1981 bbc television shakespeare adaptation, joan, , french in general, treated predominantly comic figures. joan (brenda blethyn), alençon (michael byrne), bastard (brian protheroe), reignier (david daker) , charles (ian saynor) treated buffoons part, , there no indication of malevolence (significantly, when joan’s fiends abandon her, never see them, see talking empty air). examples of comic treatment of characters found during battle of orléans, joan ludicrously depicted defending city entire english army single-handed, whilst talbot stands incredulously watching soldiers flee 1 after another. example appears in act 2, scene 1, 5 of them blame 1 breach in watch @ orléans allowed english city. role comic figures shown in act 3, scene 2. after joan has entered rouen , others stand outside waiting signal. charles shown sneaking through field holding helmet large plume in front of face in effort hide.

the notion of demonic agency , saintly power, however, not confined joan. example, in opening conversation of play, speculating how talbot have been taken prisoner, exeter exclaims shall think subtle-witted french/conjurers , sorcerers, that, afraid of him,/by magic verse have contrived end (1.1.25–27). later, discussing french capture of orléans, talbot claims contrived art , baleful sorcery (2.1.15). indeed, french make similar claims english. during battle of patay example, according messenger, french exclaimed devil in arms (1.1.125). later, english attack orléans,

bastard

i think talbot fiend of hell.



reignier

if not of hell, heavens sure favour him.

(2.1.47–48)

here, english had done when being defeated joan, french attribute diabolic power vanquishers. unlike english however, french acknowledge talbot must either demon or saint. far english concerned, joan demonic, not open question.