CHAPTER I.
BISHOP AND CANON.
In these my days, so-called "mysteries"—dialogued recitals between men and women who figure as historic personages—are frequently written and performed. These "mysteries" are imitations of the dramatic works of antiquity, such as were also the so-called "plays" of the Thirteenth Century, of which my ancestor Mylio the Trouvere left a sample behind. Therefore, I, Jocelyn the Champion, who write this chronicle of Joan Darc, have decided to conclude it in the form of these "mysteries," now so much in vogue. I shall therein trace the "Passion" of the plebeian heroine—for Joan, like Christ, also underwent her "Passion," crowned with martyrdom.
The first scene is placed in a hall of the palace of the Archbishop of Rouen, an ancient building where, eight centuries and more ago, King Charles the Simple married his daughter Ghisèle to old Rolf, and relinquished one of his best provinces to the Northman pirates. These bandits later invaded the country of England under William the Conqueror and there raised the breed of English captains who for so many years have been ravaging and enslaving Gaul. Normandy thus became a province of England. The Duke of Bedford, Regent, occupies Rouen. The archbishop's palace of the town serves as the residence of Peter Cauchon, Bishop of Beauvais, sold, body and soul, mitre and crosier, to the English party. The month of February, 1431, approaches its end. Daintily wadded in a robe of violet silk, Peter Cauchon is seated in an arm-chair near an open fire-place whence both heat and light radiate into the sumptuously furnished apartment. Cheerful reflections play upon the Oriental rug on the floor and the painted and gilded roof-beams overhead. A table, covered with parchment scrolls, and placed near the sculptured chimney, is lighted by a candelabrum of massive silver furnished with burning wax candles. A chair, vacant at the moment, and on the back of which lies a black furred cloak, faces on the other side of the table the seat occupied by the Bishop. Peter Cauchon's face, at once striking and repulsive, betokens a mixture of audacity, wile and extraordinary stubbornness. His small light blue eyes, that sparkle with craftiness and occasionally glisten with ferocity, almost disappear under the folds of his fat red cheeks and heavy eyebrows, grey like his hair that is almost wholly covered under his violet skull cap. His forehead is furrowed with purplish veins. His flat nose, bored with large and hairy nostrils, helps to set off the singular prominence of his chin and jaws. When he laughs, his cruel laughter exposes two broken rows of uneven and yellowish teeth. At times he leans over the table, reads a parchment covered with a fine and close writing and rubs his hirsute hands with manifest pleasure; other times he looks impatiently towards the door as if he would hasten with his wishes the return of some absent personage. The door finally opens and another prelate appears. He is a canon of the name of Nicolas Loyseleur. His face is long and worn; his eyes are covered like a reptile's. His red eyelids are stripped of their lashes. A colorless fissure barely indicates the location of his lips whose smile bears the imprint of hypocrisy. It is at once the face of a hypocrite and a gallows-bird.
Bishop Peter Cauchon (half rising and with deep interest)—"What news? What news? Good or bad?"
Canon Loyseleur—"The messenger sent by Captain Morris left the Maid in the prison of Breville."
Bishop Cauchon—"What is the man's errand?"
Canon Loyseleur—"He came by orders of Captain Morris to request the Earl of Warwick to have the dungeon of the old tower prepared to receive Joan Darc, who is to arrive at Rouen under a strong escort to-morrow morning at the latest."
Bishop Cauchon—"Did Captain Morris follow my instructions accurately?"