The Maid of Orleans (Schiller)

data
Title:	The Maid of Orleans
Genus:	A romantic tragedy
Original language:	German
Author:	Friedrich Schiller
Publishing year:	1801
Premiere:	September 11, 1801
Place of premiere:	Leipzig , Comedy House on the Rannische Bastei
persons
Charles the Seventh , King of France Queen Isabeau , his mother Agnes Sorel , his lover Philip the Good , Duke of Burgundy Count Dunois , bastard of Orleans Royal officers: La Hire You chatel Archbishop of Reims Chatillon , a Burgundian knight Raoul , a Lorraine knight Talbot , general of the English English leaders: Lionel Fastolf Montgomery , a Valaisan Councilmen of Orleans An English herald Thibaut d'Arc , a rich farmer His daughters: Margot Louison Johanna Your suitors: Etienne Claude Marie Raimond Bertrand , another farmer The appearance of a black knight Köhler and Köhlerweib Soldiers and people, royal servants, bishops, monks, marshals, magistrates, courtiers and other mute persons in the wake of the coronation procession

The Maiden of Orleans is a drama by Friedrich Schiller . The play was premiered on September 11, 1801 in the Comödienhaus on the Rannische Bastei in Leipzig . It takes up the subject of the French Saint Joan of Arc and was one of his most frequently played pieces during Schiller's lifetime. In terms of the history of works and literature, it can be assigned to the Weimar Classic . The peritextual generic term "romantic tragedy " already indicates that Schiller reacts to the emerging romanticism with drama .

Location and historical context

The time of the action falls in 1430 in a late phase of the Hundred Years War . The scenes alternate between different parts of France. The war in question was not about a conflict between already established nations, but about a dispute between large fiefdoms that were closely related to one another.

King Charles IV had left no direct male descendants, and that was the beginning of the legitimacy dispute over the French crown. When Johanna was active, France was divided into three political areas: The Dauphin and later King Charles VII was pushed back to an area south of the Loire and Orléans was right on the front and was besieged by the English. The Duke of Bedford ruled over Normandy , Brittany , Champagne , Paris and Guyenne on behalf of the English King, who also claimed the title of King of France for himself . Finally Philip the Good of Burgundy ruled Burgundy , the Free County of Burgundy and parts of Flanders .

Schiller also uses the following two explosive historical events of that time in his drama: On the one hand, Johann Ohnefurcht , the father and predecessor of Philip the Good, was murdered by officers of the Dauphin at a summit meeting on neutral soil, which opposed the union between England and Burgundy France sealed. On the other hand, the Dauphin's mother, called Isabeau , had turned away from her son and joined the Burgundians.

Plot of the drama

prolog

Johanna , steel engraving from the Schiller Gallery by Georg Goldberg after Friedrich Pecht , around 1859

Theater ticket for the premiere on September 11, 1801

Karl VII. , Engraving by Lazarus Gottlieb Sichling after Pecht

Talbot , engraving by Veit Froer after Pecht

The prologue talks about the approaching war and the effects of the war on the situation in France and in the d'Arc family. The character Johanna is introduced. It is shown that Johanna is different from other people in many ways. She seeks solitude, has no interest in getting married, but gives a fiery speech about war. In a monologue , Johanna mentions her mission: She tells of a mission from "the spirit", i. H. Of God or the Holy Spirit to go to war against the English. Johanna's father, on the other hand, is critical of her development: The spirits at her place of residence under the “ druid tree ” presumably seduced her to evil, and she herself lacks Christian humility; she wants to go high because she is particularly beautiful. When Bertrand arrives with a helmet that he received from a gypsy at the market, Johanna realizes that she has to go to war. In her opinion, the helmet is made for her and she understands it as a sign from heaven to go to war against England.

I. Elevator

King Karl, the Dauphin of France, wants to give up in what appears to be a militarily hopeless situation, but regains hope when Johanna is announced by her first victory. By her mere appearance she caused panic in the war opponents' camp. Johanna proves her visionary abilities in front of the king and reveals further details of her broadcast. She explains that she received her commission from the Mother of God . However, this order is made as a condition that she must not fall in love with any man. At the royal court, Johanna is immediately adored by everyone.

II. Elevator

The English side of the army is presented. The English also rate what happened as unusual, albeit as an expression of black magic . Already at the beginning of the act the disagreement in the camp of the opponents of France can be seen. In the ensuing battle, Johanna, who had previously made a fiery commitment to her fatherland France and against the English invaders, kills a Welsh soldier named Montgomery without mercy , although he regrets his presence in France even before Johanna's appearance. Her “childlike” (Burgundian valuation), free of pragmatism , is also evident in her encounter with Philip of Burgundy, whom Johanna won for the French side thanks to her moving and convincing rhetoric.

III. elevator

In the course of the elevator, the future of France and Joan is discussed. The previous opponents of the war are reconciled. In Johanna's absence, several "tall men" argue about whom Johanna should marry. After their arrival, Johanna even succeeds in reconciling Philip of Burgundy with Du Chatel, the French knight who killed Philip's father. One after the other, Dunois and La Hire propose marriage to Johanna. Johanna rejects her, referring to her prohibition of love. The English general and hero Talbot dies in the ensuing battle. Johanna meets the mysterious "black knight" who tries to persuade her to cancel her broadcast. Immediately afterwards she meets the English leader Lionel. Johanna defeats him in a fight, but as she tries to identify him and snatch the face mask from him, they fall in love at first sight. Johanna is deeply confused. Finally Lionel has to flee because the French officers Count Dunois and La Hire are approaching.

IV. Elevator

Johanna is ashamed that she betrayed her assignment through her love for Lionel and not out of pity. There is no justification for killing Montgomery and other British people, but not Lionel. Reluctantly and with a guilty conscience, Johanna accepts the flag of the Virgin Mary and takes part in the coronation of Charles in Reims. The first contrast to this depressed mood is the admiration with which the environment reacts to Johanna's successes; King Karl even indicates that Johanna will be canonized at his instigation. After the coronation ceremony, Johanna meets her sisters and wants to go home with them, but her father Thibaut intervenes and publicly accuses her of being in league with the devil . Several thunderbolts accompany this "judgment of God". Johanna remains silent about her father's accusations; then she is banished. Her suitor Raimond accompanies her into exile.

V. Elevator

Scene from Act V, engraving by Eberhard von Wächter after Johann Heinrich Lips , 1804

Johanna is out and about in the forest with Raimond during a heavy thunderstorm. The charcoal burners she meets think she is a "witch". In fact, the fortunes of war have turned in favor of the English. Johanna, however, assures Raimond that she has never practiced black magic. During the “judgment of God” she only kept silent out of obedience to the heavenly and the biological father and because she deserved punishment. But now she is "at peace" with herself and will accept everything that God plans to do with her. Shortly thereafter, she is captured by the English led by Queen Isabeau. Raimond notifies the French of this. Lionel wants to protect Johanna from her own people who want to see her hanging. Johanna no longer shows any love for Lionel. This is called into battle and leaves Johanna with Isabeau in a tower. One observer reports that the English are gaining ground. Then Johanna miraculously tears herself free from her chains after kneeling down to God for help, and turns the battle in favor of the French. She is fatally wounded in the process. Before she dies, she is transfigured (bright light is generated and she sees a rainbow that is supposed to lead her to her “new home” in the hereafter). In the final scene, the dead Johanna is covered with flags, which the bystanders place on her.

Interpretative approaches

Poetry and Historical Reality

Agnes Sorel , engraving by Albrecht Fürchtegott Schultheiss after Pecht, around 1859

Schiller's drama shows a multitude of deviations from historical reality:

• Agnes Sorel (born 1422) only became the lover of Charles VII after Joan of Arc's death, but then actually had a great influence on the king.
• Talbot (died 1453) was not killed in Joan's time, but in the Battle of Castillon , the last decisive defeat of the English in the Hundred Years' War. However, he was defeated and captured by Johanna at the Battle of Patay and exchanged four years later.
• There is no historical equivalent for the characters Chatillon, Raoul, Lionel (German: the little lion), Montgomery.
• During her first contacts with the nobles, Joan of Arc encountered skepticism that had to be overcome. In Schiller's drama, Johanna receives the image of a saint even before she has introduced herself to the royal court; everyone at court, including the archbishop, is spontaneously convinced of their "holiness" when they first appear. In Schiller's drama it is not clear that Jeanne d'Arc, perceived as “naive” by the upper class of her time, was instrumentalized by her environment, which still thinks in terms of dynasty categories .
• Joan of Arc was captured by the Burgundians and then sold to England. The reconciliation between the French king and the Duke of Burgundy, anticipated by Schiller, did not take place in Arras until 1435 .
• The idea created by Schiller that a king could appoint a venerated person to be the patron saint of his country is completely absurd .
• Joan of Arc did not die on the battlefield. After her capture, she remained outside the sphere of influence of Charles VII and was burned as a heretic at the instigation of the English , with the blessing of ecclesiastical institutions.
• It can be safely assumed that the common people of the time really believed in miracles. The dispute therefore focused on the question of whether a supernatural phenomenon was witchcraft (the work of the devil) or whether it came from God's grace. People who talked about their divine inspiration also exposed themselves to the charge of presumption ( superbia ). This controversy is very well expressed in Schiller's work. What is strange, however, is that material miracles actually happen in the piece (for example when Johanna breaks her bondage). With this, the audience is expected to see a romantically transfigured Joan of Arc in the place of a historically correct one, and in this way she comes close to a legendary figure like William Tell .

Since Friedrich Schiller held the position of professor of history at the University of Jena from 1789 until his death and therefore knew the most important historical sources about the Hundred Years War / Joan of Arc known around 1800 , he was accused of deliberately “ falsifying history “To have operated.

But the corresponding criticism falls short because it was not Schiller's intention through this complex is a historical drama to be written in the sense that he later realism -Konzeptionen following the "historical reality" would have translated into a dramatic action. Schiller's turn to historical material was based on the premise of his poetic maxim, "always to take only the general situation, time and people from history and to freely invent everything else poetically".

Schiller consciously projects current problems from around 1800 into the history of France in the 15th century. Above all, Schiller is concerned with promoting the idea of the nation state (cf. also the “winged word” from the drama Wilhelm Tell, completed in 1804 : “Ans Vaterland, ans teure close dich!”), Whereby he defends the German States against Napoleon's expanding France .

Schiller's Johanna is a fanatical patriot who wants to bring what she believes to be the only legitimate king of France to power and to drive the English out of France. Historically correct about this point of view is that Joan of Arc used argumentation patterns to justify her that emphasized the “national”, and that the nation-state was in the making in the 15th century, a development in which the historical Joan of Arc certainly did acted as a catalyst.

Affection and duty with Immanuel Kant and Friedrich Schiller

The “romantic tragedy” “The Maid of Orléans” is strongly influenced by Immanuel Kant's ideas , in particular by Kant's idea of ​​the categorical imperative , which reads: “Only act according to that maxim through which you can at the same time want it to be a general one Become law. "

According to this maxim, man must set aside his inclination in favor of duty . Friedrich Schiller took up this idea in his aesthetic theory , especially in his book On Grace and Dignity . The connection between the terms used by Schiller can be seen in the following scheme:

Tilt	duty	Learns about the company	Obtained
+	+	love	Gracefulness
-	+	Attention	Would
+	-	(Disgrace)	(Imbalance)
-	+	pity	Grandeur

In relation to Johanna's development, this means the following:

• At the beginning Johanna is at peace with herself, which makes her appear graceful .
• Through the appeals of the “Spirit”, Johanna is charged with the duty, i.e. H. confronted with the "will of God". As long as she fulfills this, regardless of her inclination, she experiences respect and appears worthy .
• However, like everyone else, Johanna is tempted not to perform her duties. In particular, she finds it difficult not to fall in love with a man, even though her position with her "ritual purity", i. H. her virginity "in thoughts, words and works" stands or falls. When Johanna falls in love with Lionel and violates her “duty” (as she herself and with her Schiller sees it) to kill Lionel, the Englishman, she not only makes a mistake, but also loses her divine grace .
• Just as Aristotle demands in his theory of drama , this process generates compassion (in the case of the other characters on the stage, but also in the audience), perhaps also fear ; in any case it disturbs the balance of the divine order.
• Order can only be restored through a tragic outcome of the drama. By sacrificing herself, Johanna creates a feeling of grandeur .

The main problem with this view is Schiller's understanding of duty: unlike Kant, the “romantic tragedy” The Maiden of Orléans is not about doing what reason dictates; the impulses that Johanna follows are irrational through and through , which is already clear from the form in which they are justified: all of Joan's justifications can ultimately be traced back to the one sentence: "God and the Holy Virgin Mary want it."

For an enlightener like Kant, such a legitimation of one's own actions would be completely unacceptable, since Johanna cites her charisma as a sufficient reason for the French to obey her, an appeal that in the 15th century was actually only granted to a traditionally legitimized ruler would have. It is precisely this break with Kant and the primacy of reason that defines what is “romantic” in “romantic tragedy”.

Schiller's drama conception

In his work On the Aesthetic Education of Man , Friedrich Schiller makes it clear what is important to him in his work: namely, to convey " education of the heart". In the 8th letter, Schiller asks: "The age has been cleared up [...] - why is it that we are still barbarians?"

His answer is: "There must be [...] in the minds of men something that stands in the way of the reception of the truth, no matter how brightly it shone, and the acceptance of it, even if it is still so vividly convincing stands. [...] Energy of courage is part of fighting the obstacles which both the indolence of nature and the cowardice of the heart oppose to teaching. [...] So it is not enough that all enlightenment of the mind only deserves respect insofar as it flows back to the character; it also proceeds to a certain extent from the character, because the way to the head through the heart must be opened. The development of sensibility is therefore the more urgent need of the time. "

How Friedrich Schiller imagines this “development of the sensibility” is made clear in his book The Schaubühne regards it as a moral institution : the audience in the theater should be confronted with the “truth” in a way that reaches their hearts. For princes in particular, the theater is often the only medium through which the “truth” can reach them: “Here only the greats of the world hear what they never or rarely hear - truth; what they never or seldom see, they see here - the people. "

If the “heart formation” succeeds in the sense of Schiller, then deluded princes would become “good princes” and their subjects would also become better people.

The reference to the drama The Maid of Orléans is obvious: Johanna first transforms Karl into a “good king” who overcomes his resignation, and then Philip of Burgundy into a “good prince” who sees “which side he belongs to “, Namely to those of the French by blood, and who reconciles with his father's murderer. Johanna achieves this effect by exemplifying the attitude that she expects from others, namely the attitude of absolute loyalty to her ideals . That is why the “greats of the world” are ready to listen to Johanna, to share her view of things and to follow her appeals.

This conception makes it clear that Schiller shares the optimism of the Enlightenment, who believe that their contemporaries would convert for the better if exemplary people acted on them with “good, reasonable arguments”.

Schiller's concept stands or falls with the fact that Johanna can really be viewed as a role model. The weak point of the drama is the relentlessness with which Johanna fights for "the cause of France". In her opinion, every English soldier she meets must die. Many (rightly) find it difficult to evaluate this attitude as an expression of an “ideal”.

Schiller and the liberation - a political issue

"Women turn into hyenas and joke with horror," says Friedrich Schiller's song about the bell . In the poem, which was written in 1799, one can feel Schiller's horror at the excesses of the French Revolution .

How Schiller imagines political changes becomes clear elsewhere in the “song”: “The master can break the form | With a wise hand, at the right time, But woe when in torrents | The glowing ore frees itself! ”. So not revolutionary conditions should be striven for, but evolutionary education for a republican attitude against any kind of internal and external coercion. This is how the motto “In Tyrannos!” (“Against the tyrants!”) Should be understood, which precedes Schiller's drama The Robbers .

Friedrich Schiller has an aversion to the self-liberation of a republican immature people around 1800 and therefore often warned of the dangers of a "half-enlightenment" which degenerates into barbarism and savagery without demanding the bliss of the whole. Schiller already suggests in his Fiesco that democracy is the "rule of the figs and the stupid", since there are more cowards than the brave and more stupid than the clever and since democracy means the "rule of the majority".

Johanna as an "exceptional woman"?

Johanna is an exception, and again she is not: She only appears legitimate as long as she complies with the conditions set by the Virgin Mary: She must remain a virgin in a broader sense (not only physically, but also spiritually) and must not love a man. The historical Joan of Arc was gynecologically examined both at the French royal court and in English captivity, which was intended to determine whether she fulfilled the basic condition of "ritual purity".

Nevertheless, through her “service as an Amazon ”, Johanna fulfills certain expectations of the female role, albeit in a different way than the conventional one. The Virgin Mary told her: “Obedience is a woman's duty on earth, | The hard endurance is their difficult lot, | It must be purified through strict service, | The one who serves here is great up there. "

At this appeal to follow the Virgin Mary, who had not been asked for her consent to become mother of the Son of God, the initially hesitant Johanna gave up her life as a shepherdess in order to follow her "vocation".

Ultimately, in Schiller's work, Johanna's image merges with that of the “Mother of God Maria”, which is particularly evident in the places where she calls for battle. In the battle cry: “God and the Holy Virgin leads you”, it remains open whether Johanna also means herself or just the Virgin Mary.

According to Schiller's understanding, Johanna does not belong to the “hyenas of the battlefield” ( Bertolt Brecht's formulation in Mother Courage and Her Children ), as she does not act independently but on a “higher order”. How alien to her a self-confident appearance in her own cause can be seen from the 4th appearance of the 5th act: She never considered herself a sorceress, but kept silent about the allegations of her father; for: “Because it came from the Father, it came from God, | And the test will also be fatherly ”. A commitment to patriarchy cannot be clearer than the fact that a “good daughter” (of her father as well as the church) remains silent on unjustified accusations.

Isabeau as a counter model to Johanna

Johanna as the embodiment of the archetype “virgin mother” is also able to motivate Dauphin Karl because she represents the counterpart to his birth mother Isabeau. This led and still leads ("The most beautiful Franconian boys, | Those we capture, we send to Melun", promises Lionel to the king mother) a relaxed lifestyle, for which she was banned by Karl. In order to get revenge, she has sided with her son's enemies and spreads gossip about him.

In the 5th act there is a "showdown": Johanna meets Isabeau, who has Johanna captured. At first the “bad mother” seems to win, but in the end “the good ones” win because Johanna sacrifices herself.

Schiller and German Romanticism

The "romantic tragedy" "The Maiden of Orléans" is assigned to the Weimar Classic . This assignment is unproblematic as far as the formal structure of the drama is concerned, which largely fulfills the regularities that v. a. Gustav Freytag set up for a regular drama :

• closed shape
• five acts with a given function ( exposure , complication, periphery , retardation and catastrophe)
• Blank verse (rhymed five-footed iambus) as the predominant stylistic device (occasionally there are rhymed passages, some of which are shortened to four feet of verse , some even in stanzas , and some inconsistent passages are six-footed)
• elevated, often pathetic style of speech

Schiller also uses catharsis as a means in his drama : a pitying and terrifying “thunderstorm” sets in at the end of the 4th act, in which in the 5th act first the “purification” of nature (the sun shines again), then the inner one "Cleansing" Johannas as well as clearing up the messed up situation (the English first push ahead, but are then pushed back again by Johanna's victims) and finally - so Schiller hopes in the tradition of Aristotle - the "cleaning" of the audience follows.

The other outstanding representative of the Weimar Classic, Johann Wolfgang Goethe , sharply distinguished the works of the Classic from those of the Romantic , which were created at the same time as those of the Weimar Classic. In a conversation with Eckermann , Goethe is said to have said: "The poets [of Romanticism] all write as if they were sick [...] I want to call their poetry hospital poetry".

The historically first drama in Germany that was written in blank verse, insofar as it introduces the Weimar Classic, is Nathan the Wise by Gotthold Ephraim Lessing , a major exponent of the German Enlightenment. Nathan, the main character, warns in this drama, typical of an enlightener, urgently against the belief in miracles . Schiller's “Maiden of Orléans”, on the other hand, is full of mysterious, rationally incomprehensible processes, which one must judge as “miracles” (Johanna's knowledge, her superhuman powers, her quasi-hypnotic effect on others, “judgments of God”). This explains why the “classic” Schiller uses the attribute “romantic” in the generic term for his work. In addition to the “miraculous” aspects, the appearance of the mysterious “black knight”, the use of the means of the soul landscape (the parallelism of processes in nature and in the human world) as well as Johanna's enthusiasm in connection with her cult of Mary are considered “romantic” .

Catholicism and Protestantism

The Marian cult found in the "romantic tragedy" is a typical feature of historical Catholicism .

At the same time, however, Schiller anticipated George Bernard Shaw's verdict, according to which Joan of Arc was “the first Protestant”: Before the king and the archbishop, she refused to return to the traditional female role “after the work was done” and to marry, although all of them expect other people present to do the same. At the beginning of the fourth act, it operates at typical pietistic way examination of conscience by thinking in a 95 Verse comprehensive, uninterrupted monologue about their "crime" and their consequences, thereby can apply any "mitigating factor". This strong emphasis on personal conscience is typical of Protestantism.

After Jeffrey L. High, Schiller developed a poetic strategy of a kaleidoscope of competing mythological, religious and secular metaphors, which illuminate and undermine one another, which is also used here in the Karlsschulreden and early poems. Peter Demetz criticizes “the strange vacillation when she [ie Johanna] speaks of her religious experiences; sometimes she confesses to the 'supreme god', sometimes, anciently, to the 'gods', now to the 'Madonna', now to 'sacred nature'; only Christ seems to have no place at all in their Christianity. It is as if she wanted to renounce any connection to historical religion and generalize her religiosity into the philosophical, as was done in Weimar. ”Finally, it is confirmed that what is actually“ sacred ”lies in her mission in liberation:“ What is innocent, holy, good, if it is not the fight for the fatherland? " (II, 10).

reception

Germania by Friedrich August von Kaulbach (1914) was inspired by Schiller's work

The Maiden of Orléans was still very successful during Schiller's lifetime, especially in Weimar. Statistics show that no drama was played on Berlin theaters between 1786 and 1885 as often as Schiller's romantic tragedy . In the 2004/2005 season, 53,363 viewers in German-speaking countries saw the play in 152 performances in 12 productions. It was in 19th place of all the pieces listed.

However, Schiller's “romantic tragedy” is often viewed negatively in the 21st century, especially by directors and theater critics . An example of this is Shirin Sojitrawalla's one-sided criticism of the Mainz performance on December 7, 2007 with the significant title “The unbearable lightness of being holy”: Sojitrawalla rates Johanna as a “naive divine warrior who knows nothing about life and everything about heaven. Sometimes the girl sounds like a stubborn cult supporter, sometimes like a precocious brat ”who utters“ godly chatter ”. In reviews of the 21st century, Johanna's liberation program is increasingly misunderstood as nationalism and bellicism , which is based on a misunderstanding of international law and the right to self-defense, as described by Kant in "To Eternal Peace" (1795).

The false equation of the opposite concepts of nationalism in the 18th century (anti-feudal-liberal) and in the 20th century (xenophobic-hegemonic) led to frequent attempts to appropriate Schiller for conservative purposes, which repeatedly degenerated into absurd perversions of his liberal works . Friedrich August von Kaulbach used Schiller's description of a night attack scene in 1914 as inspiration to depict Germany 's defensiveness at the beginning of the First World War in his depiction of Germania .

Modern productions

For example, in 2012 the play was performed in Freiburg, Darmstadt, Dresden, Hanover and Salzburg, and in the 2013/14 season the play was on the repertoire of the Deutsches Theater Berlin , the Staatstheater Kassel and the Deutsches Theater in Göttingen .

Settings (selection)

• Johanna d'Arc (1840) by Johann Vesque von Püttlingen
• Giovanna d'Arco (1845) by Giuseppe Verdi
• The Maid of Orléans (1881) by Pyotr Ilyich Tchaikovsky

Film adaptations

• D 2016 The Maid of Orleans ; Director: Cornelia Köhler, school film, DVD

literature

• Kiermeier-Debre, Joseph (Ed.): Friedrich Schiller - Die Jungfrau von Orleans , original text with appendix on author, work and text form, including time table and glossary, published in the library of first editions, Deutscher Taschenbuch Verlag, Munich, 2009. ISBN 978-3-423-02682-6 .
• Wolfgang Pfister: Friedrich Schiller: "The Maiden of Orléans" . C. Bange Verlag, Hollfeld 2003, ISBN 978-3-8044-1763-2 (King's Explanations and Materials, Volume 2)
• High, Jeffrey L .: “Schiller, National Wars for Independence, and 'merely political' Revolutions,” in: Schiller: National Poet - Poet of Nations, Amsterdam Contributions to Modern German Studies, Nicholas Martin, ed., (Amsterdam: Rodopi, 2006).

Web links

Commons : The Maiden of Orleans (Schiller)  - Collection of pictures, videos and audio files

Wikiquote: The Maid of Orleans  - Quotes

• The Maid of Orleans at Zeno.org .
• The Maiden of Orleans in Project Gutenberg ( currently not usually available for users from Germany )
• The Maid of Orleans in the Gutenberg-DE project
• Friedrich Schiller Archive: full text of the drama, materials and images
• The Maid of Orleans as an audio book at LibriVox
• http://berg.heim.at/tibet/450508/Orleans.htm
• Albrecht Koschorke: Schiller's 'Maid of Orleans' and the gender policy of the French Revolution (contribution to the Schiller Conference in Princeton, October 2005, pdf; 81 kB)

Individual evidence

1. ^ Anne Bohnenkamp-Renken: Media Change / Media Change in Edition Studies . Walter de Gruyter, 6 December 2012, ISBN 978-3-11-030043-7 , pp. 74–.
2. ↑ cf. V.2959
3. ↑ Schiller: Letter to Goethe, August 20, 1799 ( Memento of November 9, 2011 in the Internet Archive )
4. ↑ The Fiesco Conspiracy in Genoa , II / 8
5. ↑ V.1102-1105
6. ↑ V.1457f.
7. ↑ Peter Demetz: Foreword to: George Bernard Shaw: The holy Johanna . Munich 1965. p. 17
8. ↑ Albert Ludwig: Schiller and the German posterity. Berlin. Weidmannsche Buchhandlung 1909. P. 646ff.
9. ↑ Work statistics 2004/05 of the German Stage Association. Theater repertoire under the sign of the Schiller year. Deutscher Bühnenverein, August 22, 2006, accessed on November 17, 2012 . 
10. ↑ Shirin Sojitrawalla: The unbearable lightness of being holy. In: Post-criticism. December 7, 2007, accessed November 17, 2012 . 
11. ^ German Historical Museum (ed.): Friedrich August Kaulbach: Germania . Retrieved July 15, 2012.
12. ↑ The Maid of Orleans - PREMIERE. Theater Freiburg , accessed on November 17, 2012 . 
13. ↑ The Maid of Orleans. (No longer available online.) Staatstheater Darmstadt , archived from the original on October 6, 2012 ; Retrieved November 17, 2012 . 
14. ↑ The Maid of Orleans. (No longer available online.) Dresden State Theater , archived from the original on November 17, 2012 ; Retrieved November 17, 2012 . 
15. ↑ The Maid of Orleans. (No longer available online.) Schauspielhaus Hannover , archived from the original on April 7, 2014 ; Retrieved November 17, 2012 . 
16. ↑ The Maid of Orleans. (No longer available online.) Salzburger Landestheater , archived from the original on December 27, 2012 ; Retrieved November 17, 2012 . 
17. ↑ The Maid of Orleans - PREMIERE. (No longer available online.) Staatstheater Kassel , archived from the original on December 3, 2013 ; Retrieved November 30, 2013 . 
18. ↑ The Maid of Orleans. (No longer available online.) Deutsches Theater Göttingen , archived from the original on April 14, 2014 ; Retrieved April 13, 2014 . 
19. ↑ Cornelia Köhler: Friedrich Schiller (1759-1805) . Anne Roerkohl Documentary, Münster 2016, ISBN 978-3-942618-20-5 ( online ).