Personal Recollections of Joan of Arc (Complete Edition). Mark Twain

her name, but any one could see who was meant; for the bare title—“The Rose of Orleans”—would reveal that, as it seemed to me. It pictured this pure and dainty white rose as growing up out of the rude soil of war and looking abroad out of its tender eyes upon the horrid machinery of death, and then—note this conceit—it blushes for the sinful nature of man, and turns red in a single night. Becomes a red rose, you see—a rose that was white before. The idea was my own, and quite new. Then it sent its sweet perfume out over the embattled city, and when the beleaguering forces smelt it they laid down their arms and wept. This was also my own idea, and new. That closed that part of the poem; then I put her into the similitude of the firmament—not the whole of it, but only part. That is to say, she was the moon, and all the constellations were following her about, their hearts in flames for love of her, but she would not halt, she would not listen, for ‘twas thought she loved another. ‘Twas thought she loved a poor unworthy suppliant who was upon the earth, facing danger, death, and possible mutilation in the bloody field, waging relentless war against a heartless foe to save her from an all too early grave, and her city from destruction. And when the sad pursuing constellations came to know and realize the bitter sorrow that was come upon them—note this idea—their hearts broke and their tears gushed forth, filling the vault of heaven with a fiery splendor, for those tears were falling stars. It was a rash idea, but beautiful; beautiful and pathetic; wonderfully pathetic, the way I had it, with the rhyme and all to help. At the end of each verse there was a two-line refrain pitying the poor earthly lover separated so far, and perhaps forever, from her he loved so well, and growing always paler and weaker and thinner in his agony as he neared the cruel grave—the most touching thing—even the boys themselves could hardly keep back their tears, the way Noel said those lines. There were eight four-line stanzas in the first end of the poem—the end about the rose, the horticultural end, as you may say, if that is not too large a name for such a little poem—and eight in the astronomical end—sixteen stanzas altogether, and I could have made it a hundred and fifty if I had wanted to, I was so inspired and so all swelled up with beautiful thoughts and fancies; but that would have been too many to sing or recite before a company that way, whereas sixteen was just right, and could be done over again if desired. The boys were amazed that I could make such a poem as that out of my own head, and so was I, of course, it being as much a surprise to me as it could be to anybody, for I did not know that it was in me. If any had asked me a single day before if it was in me, I should have told them frankly no, it was not.

      That is the way with us; we may go on half of our life not knowing such a thing is in us, when in reality it was there all the time, and all we needed was something to turn up that would call for it. Indeed, it was always so without family. My grandfather had a cancer, and they never knew what was the matter with him till he died, and he didn’t know himself. It is wonderful how gifts and diseases can be concealed in that way. All that was necessary in my case was for this lovely and inspiring girl to cross my path, and out came the poem, and no more trouble to me to word it and rhyme it and perfect it than it is to stone a dog. No, I should have said it was not in me; but it was.

      The boys couldn’t say enough about it, they were so charmed and astonished. The thing that pleased them the most was the way it would do the Paladin’s business for him. They forgot everything in their anxiety to get him shelved and silenced. Noel Rainguesson was clear beside himself with admiration of the poem, and wished he could do such a thing, but it was out of his line, and he couldn’t, of course. He had it by heart in half an hour, and there was never anything so pathetic and beautiful as the way he recited it. For that was just his gift—that and mimicry. He could recite anything better than anybody in the world, and he could take of La Hire to the very life—or anybody else, for that matter. Now I never could recite worth a farthing; and when I tried with this poem the boys wouldn’t let me finish; they would have nobody but Noel. So then, as I wanted the poem to make the best possible impression on Catherine and the company, I told Noel he might do the reciting. Never was anybody so delighted. He could hardly believe that I was in earnest, but I was. I said that to have them know that I was the author of it would be enough for me. The boys were full of exultation, and Noel said if he could just get one chance at those people it would be all he would ask; he would make them realize that there was something higher and finer than war-lies to be had here.

      But how to get the opportunity—that was the difficulty. We invented several schemes that promised fairly, and at last we hit upon one that was sure. That was, to let the Paladin get a good start in a manufactured battle, and then send in a false call for him, and as soon as he was out of the room, have Noel take his place and finish the battle himself in the Paladin’s own style, imitated to a shade. That would get great applause, and win the house’s favor and put it in the right mood to hear the poem. The two triumphs together with finish the Standard-Bearer—modify him, anyway, to a certainty, and give the rest of us a chance for the future.

      So the next night I kept out of the way until the Paladin had got his start and was sweeping down upon the enemy like a whirlwind at the head of his corps, then I stepped within the door in my official uniform and announced that a messenger from General La Hire’s quarters desired speech with the Standard-Bearer. He left the room, and Noel took his place and said that the interruption was to be deplored, but that fortunately he was personally acquainted with the details of the battle himself, and if permitted would be glad to state them to the company. Then without waiting for the permission he turned himself to the Paladin—a dwarfed Paladin, of course—with manner, tones, gestures, attitudes, everything exact, and went right on with the battle, and it would be impossible to imagine a more perfectly and minutely ridiculous imitation than he furnished to those shrieking people. They went into spasms, convulsions, frenzies of laughter, and the tears flowed down their cheeks in rivulets. The more they laughed, the more inspired Noel grew with his theme and the greater marvels he worked, till really the laughter was not properly laughing any more, but screaming. Blessedest feature of all, Catherine Boucher was dying with ecstasies, and presently there was little left of her but gasps and suffocations. Victory? It was a perfect Agincourt.

      The Paladin was gone only a couple of minutes; he found out at once that a trick had been played on him, so he came back. When he approached the door he heard Noel ranting in there and recognized the state of the case; so he remained near the door but out of sight, and heard the performance through to the end. The applause Noel got when he finished was wonderful; and they kept it up and kept it up, clapping their hands like mad, and shouting to him to do it over again.

      But Noel was clever. He knew the very best background for a poem of deep and refined sentiment and pathetic melancholy was one where great and satisfying merriment had prepared the spirit for the powerful contrast.

      So he paused until all was quiet, then his face grew grave and assumed an impressive aspect, and at once all faces sobered in sympathy and took on a look of wondering and expectant interest. Now he began in a low but distinct voice the opening verses of The Rose. As he breathed the rhythmic measures forth, and one gracious line after another fell upon those enchanted ears in that deep hush, one could catch, on every hand, half-audible ejaculations of “How lovely—how beautiful—how exquisite!”

      By this time the Paladin, who had gone away for a moment with the opening of the poem, was back again, and had stepped within the door. He stood there now, resting his great frame against the wall and gazing toward the reciter like one entranced. When Noel got to the second part, and that heart-breaking refrain began to melt and move all listeners, the Paladin began to wipe away tears with the back of first one hand and then the other. The next time the refrain was repeated he got to snuffling, and sort of half sobbing, and went to wiping his eyes with the sleeves of his doublet. He was so conspicuous that he embarrassed Noel a little, and also had an ill effect upon the audience. With the next repetition he broke quite down and began to cry like a calf, which ruined all the effect and started many to the audience to laughing. Then he went on from bad to worse, until I never saw such a spectacle; for he fetched out a towel from under his doublet and began to swab his eyes with it and let go the most infernal bellowings mixed up with sobbings and groanings and retchings and barkings and coughings and snortings and screamings and howlings—and he twisted himself about on his heels and squirmed this way and that, still pouring out that brutal clamor and flourishing his towel in the air and swabbing again and wringing it out. Hear? You couldn’t hear