1. Shaw states in his Preface that all one needs to know about his Joan is found in the play. Do you still feel the need to know more of the history and the recorded background of Jeanne d'Arc?

2. Wouldn't the theater-goer miss the delicious character descriptions found in reading the stage directions before each scene?

3. "They're layin' eggs now..." What convinces Robert Baudricourt that Joan really does come from God? What is the real miracle in this scene?

4. How does Robert react when he hears of Joan's voices? How does Shaw explain his Protestant understanding of what they really were?

5. Do the familiar elements of this first scene, the nicknames, the character portrayals, the light-hearted, irreverant banter suggest that the play will be not be a serious tragedy?

1. Why does Charles get no respect - from anyone? What was his relationship to the invading English king, Henry V?

2. Does Shaw's portrayal of the Archbishop as "a sort of idol" accurately describe the position of the Church at this time? What is the "new spirit" of which the AB speaks in glowing terms?

3. When is a miracle not really a miracle in Shaw-speak? What part did miracles play in this scene?

4. "Holy" as he is, why did God send an angel to Charles, rather than to the Archbishop? How did Joan win the Archbishop's acceptance?

5. How does Joan convince Charles to send her to Orlean as commander of his army?

1. How does Shaw describe the French army morale on the south bank of the Loire before Joan arrives? Is the elusive Kingfisher significant?

2. Why does Jack Dunois, whom Joan refers to as "the Bastard of Orleans," anticipate Joan's arrival? How does he believe that she can help?

3. "I will not look back to see whether anyone is following me." Do you see Joan in love with war as Dunois does from this statement - or with religion as the Archbishop told her?

4. Is it significant that Joan refuses to go into the church with Dunois until the siege is lifted? Why not? What changed her mind?

5. What do you know of Joan's sword found hidden in the Church of St. Catherine? Did she ever intend to use it in battle? Do you think she did?

6. What is the "faith-creating miracle" at the end of Scene III? Why the tears?

1. An illuminated manuscript on the battlefield? What does Shaw intend with his portrayal of the Earl of Warwick enjoying the Book of Hours, while the English are beaten back by the French army?

2. Is Cauchon, the Bishop of Beavais sympathetic to the English? Does he too believe the English have been unfairly beaten?

3. What is the difference between a witch and a heretic here? The difference between a traitor to the French and to the English in Shaw-speak?

4. "You burn the Protestant, I will burn the Nationalist." Does Shaw portray Joan a greater threat to the Church or to the feudal aristocracy?

5. After this meeting, is it clear that the representatives of the Church and the feudal aristocracy both want to see Joan out of the way? How must they go about this?

6. "How to save her soul without saving her body?" Is there an answer to Warwick's question, or is Joan's conviction a done deal before the trial even begins?

1. In placing Joan alone on her knees before the station of the cross in the Cathedral, is Shaw purposely drawing a parallel between Joan and Christ? What is he saying about her impending sacrifice?

2. Does Joan consider the chastisements of the Archbishop of Reims with an open mind, or is she simply defensive? Is this a character flaw? What is the "dangerous power" he sees in her outbursts?

3. Does anyone besides Joan want to go on to take Paris or is she completely alone in this? Why does't Charles want to go? Is he resentful because the voices don't speak to him, now that he is king?

4. Does Dunois sound like Shaw in his Preface on his belief in Joan's voices? (What does Shaw intend with Joan's wish to nurse Dunois like a baby?)

5. Does Shaw's Joan seem to exhibit a lack of concern over lives lost in warfare? Is Shaw speaking through Dunois of his own views on war?

6. Does Joan seem to understand all the consequences if she goes on to Paris and is captured? Are her voices counselling her to go?

1. In Shaw's admittedly flattering portrayal of Cauchon, do you think that he, Cauchon, believes Joan will get a fair trial? With all the pressure on him from the English, does he believe she will abjure, save her soul and escape execution?

2. Did you sense that Joan's trial was a "kangaroo court"? Did she have any chance of leaving Rouen? At what point does she realize this?

3. Do you sense that Joan is truly unable to understand that her testimony is heresy? At any point does she come close to this realization and lose faith in her saints? In God? In the transcript of Joan's 1431 trial do you find the clever sparring with her judges that Shaw presents here?

4. What does Shaw accomplish with his creation of the Inquisitor's character? Did you find humor in his twisted logic?

St. Joan - The Complete Play // Shaw's Preface to St. Joan// Original Trial Records of 1431 trial // Historical Setting // Musée Jeanne d'Arc, Rouen // Song of Joan of Arc, Pizan 1429 // "Mother of all Web links to Joan of Arc" // Childhood Influences in Ireland // Shaw and Women //Shaw/Religion // Sculpture - believed to be Joan's likeness // Our favorite Shavian quotes