Mark Twain: A Biography. Complete

by Albert Bigelow Paine

But this is just the very wonder of Mark Twain's Joan. She is a saint; she is rare, she is exquisite, she is all that is lovely, and she is a human being besides. Considered from every point of view, Joan of Arc is Mark Twain's supreme literary expression, the loftiest, the most delicate, the most luminous example of his work. It is so from the first word of its beginning, that wonderful “Translator's Preface,” to the last word of the last chapter, where he declares that the figure of Joan with the martyr's crown upon her head shall stand for patriotism through all time.

The idyllic picture of Joan's childhood with her playmates around the fairy tree is so rare in its delicacy and reality that any attempt to recall it here would disturb its bloom. The little poem, “L'Arbre fee de Bourlemont,” Mark Twain's own composition, is a perfect note, and that curiously enough, for in versification he was not likely to be strong. Joan's girlhood, the picture of her father's humble cottage, the singing there by the wandering soldier of the great song of Roland which stirred her deepest soul with the love of France, Joan's heroism among her playmates, her wisdom, her spiritual ideals-are not these all reverently and nobly told, and with that touch of tenderness which only Mark Twain could give? And the story of her voices, and her march, and of her first appearance before the wavering king. And then the great coronation scene at Rheims, and the dramatic moment when Joan commands the march on Paris—the dragging of the hopeless trial, and that last, fearful day of execution, what can surpass these? Nor must we forget those charming, brighter moments where Joan is shown just as a human being, laughing until the tears run at the absurdities of the paladin or the simple home prattle of her aged father and uncle. Only here and there does one find a touch—and it is never more than that—of the forbidden thing, the burlesque note which was so likely to be Mark Twain's undoing.

It seems incredible to-day that any reader, whatever his preconceived notions of the writer might have been, could have followed these chapters without realizing their majesty, and that this tale of Joan was a book such as had not before been written. Let any one who read it then and doubted, go back and consider it now. A surprise will await him, and it will be worth while. He will know the true personality of Joan of Arc more truly than ever before, and he will love her as the author loved her, for “the most innocent, the most lovely, the most adorable child the ages have produced.”

The tale is matchless in its workmanship. The quaint phrasing of the old Sieur de Conte is perfectly adapted to the subject-matter, and the lovely character of the old narrator himself is so perfectly maintained that we find ourselves all the time as in an atmosphere of consecration, and feel that somehow we are helping him to weave a garland to lay on Joan's tomb. Whatever the tale he tells, he is never more than a step away. We are within sound of his voice, we can touch his presence; we ride with him into battle; we laugh with him in the by-play and humors of warfare; we sit hushed at his side through the long, fearful days of the deadly trial, and when it is all ended it is to him that we turn to weep for Joan—with him only would we mingle our tears. It is all bathed in the atmosphere of romance, but it is the ultimate of realism, too; not hard, sordid, ugly realism, but noble, spiritual, divine realism, belonging to no particular class or school—a creation apart. Not all of Mark Twain's tales have been convincing, but there is no chapter of his Joan that we doubt. We believe it all happened—we know that it must have happened, for our faith in the Sieur de Conte never for an instant wavers.

Aside from the personality of the book—though, in truth, one never is aside from it—the tale is a marvel in its pageantry, its splendid panorama and succession of stirring and stately scenes. The fight before Orleans, the taking of the Tourelles and of Jargeau, all the movement of that splendid march to Rheims, there are few better battle-pictures than these. Howells, always interested mainly in the realism of to-day, in his review hints at staginess in the action and setting and even in Joan herself. But Howells himself did not accept his earlier judgment as final. Five years later he wrote:

“She is indeed realized to the modern sense as few figures of the past have been realized in fiction.”

As for the action, suppose we consider a brief bit of Joan's warfare. It is from the attack on the Tourelles:

Joan mounted her horse now with her staff about her, and when our
people saw us coming they raised a great shout, and were at once
eager for another assault on the boulevard. Joan rode straight to
the foss where she had received her wound, and, standing there in
the rain of bolts and arrows, she ordered the paladin to let her
long standard blow free, and to note when its fringes should touch
the fortress. Presently he said:
“It touches.”
“Now, then,” said Joan to the waiting battalions, “the place is
yours—enter in! Bugles, sound the assault! Now, then—all
together—go!”
And go it was. You never saw anything like it. We swarmed up the
ladders and over the battlements like a wave—and the place was our
property. Why, one might live a thousand years and never see so
gorgeous a thing as that again....
We were busy and never heard the five cannon-shots fired, but they
were fired a moment after Joan had ordered the assault; and so,
while we were hammering and being hammered in the smaller fortress,
the reserve on the Orleans side poured across the bridge and
attacked the Tourelles from that side. A fireboat was brought down
and moored under the drawbridge which connected the Tourelles with
our boulevard; wherefore, when at last we drove our English ahead of
us, and they tried to cross that drawbridge and join their friends
in the Tourelles, the burning timbers gave way under them and
emptied them in a mass into the river in their heavy armor—and a
pitiful sight it was to see brave men die such a death as that.
“God pity them!” said Joan, and wept to see that sorrowful
spectacle. She said those gentle words and wept those compassionate
tears, although one of those perishing men had grossly insulted her
with a coarse name three days before when she had sent him a message
asking him to surrender. That was their leader, Sir William
Glasdale, a most valorous knight. He was clothed all in steel; so
he plunged under the water like a lance, and of course came up no
more.
We soon patched a sort of bridge together and threw ourselves
against the last stronghold of the English power that barred Orleans
from friends and supplies. Before the sun was quite down Joan's
forever memorable day's work was finished, her banner floated from
the fortress of the Tourelles, her promise was fulfilled, she had
raised the siege of Orleans!

England had resented the Yankee, but it welcomed Joan. Andrew Lang adored it, and some years later contemplated dedicating his own book, 'The Maid of France', to Mark Twain.'—[His letter proposing this dedication, received in 1909, appears to have been put aside and forgotten by Mr. Clemens, whose memory had not improved with failing health.]

Brander Matthews ranks Huck Finn before Joan of Arc, but that is understandable. His literary culture and research enable him, in some measure, to comprehend the production of Joan; whereas to him Huck is pure magic. Huck is not altogether magic to those who know the West—the character of that section and the Mississippi River, especially of an older time—it is rather inspiration resulting from these existing things. Joan is a truer literary magic—the reconstruction of a far-vanished life and time. To reincarnate, as in a living body of the present, that marvelous child whose life was all that was pure and exalted and holy, is veritable necromancy and something more. It is the apotheosis of history.