Key points in Scene 3

Following the animated action of the last scene, George Bernard Shaw produces a marked change in dramatic effect. We now see Joan in conversation with Dunois, and their sense of fellowship is soon apparent. The brevity of the scene suggests a moment of relative clam between Joan’s struggle to win approval and the battle that lies ahead.



The sympathy between the two is readily comprehensible. Dunois is a man of action and a professional soldier, exemplifying the courage and resourcefulness that Joan admires. He also has evident sensitivity, which fortifies the bond between them. As George Bernard Shaw makes clear in the Preface, historical evidence supports his own determination not to allow his tale. Yet there does seem to be mutual attraction between the Maid and the military man in this scene. That impression is enhanced by the image of a pair of brilliant kingfishers, flying ‘Like blue lightning’ (pg 80). Still, references to love of war and love of religion suggest that the potentially amorous energy underlying the meeting is being directed on to another, impersonal plane. Joan does embrace Dunois, but as a comrade-in-arms. She also says, in matter-of-fact fashion, ‘I will never take a husband’, adding the historical detail: ‘A man in Toul took an action against me for breach of promise; but I never promised him’ (pg 83).



Is the change of the wind’s direction following Joan’s arrival a miracle, or a mere coincidence? It is a question that tests modern audiences just as it tested Dunois. As the archbishop remarked in the previous scene, a miracle is whatever generates faith, and George Bernard Shaw required his audiences to have faith in the positive effects wrought by Joan’s energies. She must also remain credible as a woman.


*bend sinister: in heraldry, a band on a family shield indicating illegitmacy



Taken from York Notes on "Saint Joan" by George Bernard Shaw.