The Stage Limits of Historical Representation + 

For the story of Joan I refer the reader to the play which follows. It contains all that need be known about her; but as it is for stage use I have had to condense into three and a half hours a series of events which in their historical happening were spread over four times as many months; for the theatre imposes unities of time and place from which Nature in her boundless wastefulness is free. Therefore the reader must not suppose that Joan really put Robert de Baudricourt in her pocket in fifteen minutes, nor that her excommunication, recantation, relapse, and death at the stake were a matter of half an hour or so. Neither do I claim more for my dramatizations of Joan’s contemporaries than that some of them are probably slightly more like the originals than those imaginary portraits of all the Popes from Saint Peter onward through the Dark Ages which are still gravely exhibited in the Uffizi in Florence (or were when I was there last). My Dunois would do equally well for the Duc d’Alençon. Both left descriptions of Joan so similar that, as a man always describes himself unconsciously whenever he describes anyone else, I have inferred that these goodnatured young men were very like one another in mind; so I have lumped the twain into a single figure, thereby saving the theatre manager a salary and a suit of armor. Dunois’ face, still on record at Châteaudun, is a suggestive help. But I really know no more about these men and their circle than Shakespeare knew about Falconbridge and the Duke of Austria, or about Macbeth and Macduff. In view of the things they did in history, and have to do again in the play, I can only invent appropriate characters for them in Shakespeare’s manner. + 