Other editions of book The Maid of Orleans

The Maid of Orleans - A Tragedy - By Friedrich Schiller – NEW EDITION - Translated by Anna Swanwick, The Maid of Orleans (German: Die Jungfrau von Orleans) is a tragedy by Friedrich Schiller, written in 1801 in Leipzig. During his lifetime, it was one of Schiller's most frequently-performed pieces. Johann Christoph Friedrich von Schiller (10 November 1759 – 9 May 1805), usually known as Friedrich Schiller, was a German poet, historian, dramatist, and playwright. The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored. The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle. The line "Mit der Dummheit kämpfen Götter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.

Johann Christoph Friedrich von Schiller (1759-1805) was a German poet, philosopher, historian, and dramatist. Schiller wrote many philosophical papers on ethics and aesthetics. He developed the concept of the Schöne Seele (beautiful soul), a human being whose emotions have been educated by his reason, so that Pflicht und Neigung (duty and inclination) are no longer in conflict with one another; thus "beauty," for Schiller, is not merely a sensual experience, but a moral one as well: the Good is the Beautiful. His philosophical work was also particularly concerned with the question of human freedom, a preoccupation which also guided his historical researches. Schiller is considered by most Germans to be Germany's most important classical playwright. Critics have noted his innovative use of dramatic structure and his creation of new forms, such as the melodrama and the bourgeois tragedy. Amongst his famous works are Love and Intrigue (1784), Don Carlos (1787), The Minister (1796), The Death of Wallenstein (1799), The Piccolomini (1800) and Mary Stuart (1800).

Ay, my good neighbors! we at least today Are Frenchmen still, free citizens and lords Of the old soil which our forefathers tilled. Who knows whom we tomorrow must obey? For England her triumphal banner waves From every wall: the blooming fields of France Are trampled down beneath her chargers' hoofs; Paris hath yielded to her conquering arms, And with the ancient crown of Dagobert Adorns the scion of a foreign race. Our king's descendant, disinherited, Must steal in secret through his own domain; While his first peer and nearest relative Contends against him in the hostile ranks; Ay, his unnatural mother leads them on. Around us towns and peaceful hamlets burn. Near and more near the devastating fire Rolls toward these vales, which yet repose in peace. Therefore, good neighbors, I have now resolved, While God still grants us safety, to provide For my three daughters; for 'midst war's alarms Women require protection, and true love Hath power to render lighter every load. [To the first Shepherd. Come, Etienne! You seek my Margot's hand. Fields lying side by side and loving hearts Promise a happy union! [To the second. Claude! You're silent, And my Louison looks upon the ground? How, shall I separate two loving hearts Because you have no wealth to offer me? Who now has wealth? Our barns and homes afford Spoil to the foe, and fuel to the fires. In times like these a husband's faithful breast Affords the only shelter from the storm.

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Excerpt from The Maid of OrleansThis translation was begun nearly seventeen years ago, but other pursuits interfered to prevent its completion at that time. An accident recently brought to my remembrance my early attempt, of which I had preserved no copy, and I began to write down as much as I could recollect, supply ing vacancies as I proceeded. My aim has been merely to give the spirit of the original, and when I thought that this was gained, I took no great pains to make a strictly literal version. I be lieve, however, that there are few passages in which I have departed very widely from the original, unless in one or two, which I have pur-b-x poscly altered or omitted. I shall be satisfied, if the friends, for whom alone I have printed this volume, derive from its perusal only a small part.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.