Saint Joan, by George Bernard Shaw

Preface

1. Joan the Original and Presumptuous
2. Joan and Socrates
3. Contrast with Napoleon
4. Was Joan Innocent or Guilty?
5. Joan’s good Looks
6. Joan’s Social Position
7. Joan’s Voices and Visions
8. The Evolutionary Appetite
9. The Mere Iconography does not Matter
10. The Modern Education which Joan Escaped
11. Failures of the Voices
12. Joan a Galtonic Visualizer
13. Joan’s Manliness and Militarism
14. Was Joan Suicidal?
15. Joan Summed up
16. Joan’s Immaturity and Ignorance
17. The Maid in Literature
18. Protestant Misunderstandings of the Middle Ages
19. Comparative Fairness of Joan’s Trial
20. Joan not Tried as a Political Offender
21. The Church Uncompromised by its Amends
22. Cruelty, Modern and Medieval
23. Catholic Anti-clericalism
24. Catholicism not yet Catholic enough
25. The Law of Change is the Law of God
26. Credulity, Modern and Medieval
27. Toleration, Modern and Medieval
28. Variability op Toleration
29. The Conflict between Genius and Discipline
30. Joan as Theocrat
31. Unbroken Success Essential in Theocracy
32. Modern Distortions of Joan’s History
33. History always out of Date
34. The real Joan not Marvellous enough for us
35. The Stage Limits of Historical Representation
36. A Void in the Elizabethan Drama
37. Tragedy, not Melodrama
38. The Inevitable Flatteries of Tragedy
39. Some Well-meant Proposals for the Improvement of the Play
40. The Epilogue
41. To the Critics, lest they should Feel Ignored

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Saint Joan

• Scene i
• Scene ii
• Scene iii
• Scene iv
• Scene v
• Scene vi
• Epilogue