The Executioner's Knife; Or, Joan of Arc

by Eugène Sue

After her formal abjuration Joan Darc is taken in an almost dying condition, not to her cell but to a room in the Castle of Rouen. By orders of the Bishop, two old women are appointed to nurse her. She is laid in a soft bed; her jaws, locked in convulsions, are forced open, and a calming beverage poured down her throat. Every day and night the physician visits her. On the second day after the abjuration, the patient is out of danger. When Joan Darc recovers consciousness, she finds herself in a spacious and neatly furnished room. The warm rays of the sun play upon the glass of the barred casement. The two old women, who have her in charge, are seated at the head of the patient's bed seeming to contemplate her with tender interest. Joan Darc first thinks that she dreams, but her next belief is that, agreeable to the promise made to her by the institutor in the name of the Bishop, she has secretly been set free. She believes that some charitable people have obtained from the Bishop permission to transport her to their own house. The first impression felt by Joan at these surmises is one of joy at being free, and no remorse assails her at having denied the truth. The bliss of having escaped the dreaded shame of exposure, the hope of soon recovering her health, the prospect of returning to Domremy and seeing her parents—all these pleasurable sentiments smother the reproaches of her voices. She asks the two old women where she is. They smile in answer, and mysteriously place their fingers on their lips. From these tokens Joan conjectures that they are not free to answer, but that she is in a safe and hospitable asylum. Preserving on this head the silence that seems to be recommended to her, Joan gives herself over without reserve to the joy of living, of looking through the window panels at the blue sky, at feeling her limbs, so long sore and even wounded by the weight of her chains, finally free from their cruel grip; above all she congratulates herself on being delivered from the presence of her jailers, whose revolting utterances and licentious looks have been a cause of unremitting torture to her. She accepts nourishment and even some generous wine mixed with water. Her strength returns. On the third day she is able to rise. Her nurses offer her a long woman's dress and a hat. No longer assailed by the chaste apprehension that her jailers inspired her with in her cell, Joan resumes without hesitation the garb of her sex. The door of the room that she occupies opens upon a terrace on which her nurses induce her to promenade. A board fence high enough to shut off the view surrounds the terrace.

Joan remains a long time upon the terrace, inhaling the spring air with delight. When night approaches, feeling herself slightly fatigued by her walk, she undresses, lies down upon her bed, and sleeps profoundly.

Subject to human weakness, and transported by the joy of being free after such a long, painful and rigid confinement, the poor martyr is not assailed by remorse until towards evening. Vague sentiments, the forerunners of the approaching awakening of her conscience having cast a shadow over her spirit, she seeks in sleep both further rest and oblivion. Her expectations prove false.

St. Marguerite and St. Catherine appear in the heroine's dream; they do not now smile and look down tenderly upon her. They are sad and threatening, and reproach her for having denied the truth out of fear and shame. Profoundly impressed by her dream, Joan wakes up, her face covered with tears, when, lo, she sees the two saints with their gold crowns on their heads and robed in white and blue, luminously, almost transparently floating in the darkness of the room, and calling her by her name.

With beating heart and clasped hands, Joan kneels down on her bed, sobs, and implores their forgiveness. Without answering her, the two saints point to heaven with a significant gesture. The apparition then gradually fades away, and darkness again reigns supreme.

Thus rudely awakened to a sense of her actual condition, the heroine forthwith feels the promptings of her own conscience, that has lain torpid since the abjuration. She traces back the solemnity in all its horrid details; she recalls the maledictions with which she was whelmed by those who just before commiserated her. The terrible, yet legitimate accusation pounds upon her ears:

"If Joan's visions are inventions and a fraud, she has deceived simple people—she has lied—she only deserves contempt."

"If her visions were genuine, if God inspired her, she covers herself with shame by abjuring out of fear of death!"

"Coward or liar" her inexorable voices repeat to her; "coward, or liar!—such is the name that you will leave behind you!"

Indescribable are the tortures that the poor creature undergoes on that night of desperate remorse. The full lucidity of her mind, of her energy, of her character, have returned to her, but only to curse her. Her keen judgment points out to her the fatal consequences of her abjuration; the soldiers and the peoples who rose at her voice against the foreigner will soon learn of the perjury committed by her whom they believed inspired! Mistrust of themselves, dejectment, even defeat may follow the victorious exaltation of the soldiers and the people. On the other hand, the memory of the martial maid, surviving her martyrdom, would have added fuel to their courage, it would have aroused an avenging hatred for the English, and the great work of the complete emancipation of Gaul would have been achieved in the name of the victim, and in execration of her butchers.