Joan Of Arc

Consequently, the characteristics used to describe Joan are commonly associated with dominant men, further confirming the idea that Joan willingly participates in gender role reversal. Barstow refers to Joan, “As a female prophet wearing male clothing who moved into the world of men and beat them at their own game…” (41). Joan is successful in assuming the role of a warrior by aligning herself, physically and emotionally, with her male counterparts. An example is when she provides council to King Charles, she assumes her warrior position, when she encourages him to continue fighting, to pursue the English and, “The king had asked her to describe her authority for this advice, her ‘counsel.’” (Barstow 33). By refraining to back down under the
Christine assigns Joan a kingship position by stating, “…in preference to all the brave men of times past, this woman must wear the crown, for her deeds show clearly enough already that God bestows more courage…” (XLIV). Therefore, Joan of Arc rebels against her traditional role as a woman when de Pisan places her on a pedestal, a place where King Charles, of France should be. In Anne Llewellyn Barstow’s essay, “Joan of Arc and Female Mysticism,” she remarks, “Castles, towns, entire cities went over to King Charles’ allegiance because of her courage and magical abilities” (33). The people of France clearly supported Charles only because he receives military support and guidance from Joan, not for his own choices and warrior efforts. Christine makes sure to explain that there is no doubt Joan of Arc is the reason for France’s success in the war against the English which justifies her reason for the gender role reversal between warrior and king. She praises Joan, “And all this has been brought about by the intelligence of the Maid who, God be thanked, has played her part in this matter!” (XIV). Furthermore, de Pisan reminds King Charles not to ruin the hard work that Joan put into the protection of France and slightly degrades him by reminding him how he almost lost the war and his country (XIV). It is made abundantly clear that Christine de Pisan supports King Charles, but
Christine is very vocal about politics, war, and feminism using writing as her medium. In de Pisan’s writing, she attempts to engage her audience in discussion about the importance of war. In “Reflections on Christine de Pizan’s ‘Feminism,’” author, Keiko Nowacka remarks, “…its anti-English diatribe and exaltation of France suggests that it was intended instead to inspire patriotic fervour” (87). This equality, associating de Pisan’s inspirational words by writing about Joan of Arc, further proves that she is politically aware of her countries situation, making her pro-French and anti-English stance a focal point in her poem. In addition, Christine creates an idealistic, war-driven the path that Joan will take when facing the English, “But if it decides to see her as an enemy, I fear that she will subject it to a fierce attack…it’s my belief that things will go badly for them” (LIII). Joan is also pressing the same issues as Christine but fights her battles physically, channeling her spiritual presence in a male dominated world. By inserting her war strategies, potential threats against France’s enemy, Christine is the voice and Joan is the