YuITC/NarrativeQA-Dataset-Restructured huggingface dataset:
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: What is Joan of Arc accused of?
Answer: Sorcery
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: Where is she accused of sorcery?
Answer: At Reims
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: Who is Joan of Arc captured by?
Answer: The English
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: As victory is won, what happens to Joan of Arc?
Answer: She dies
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: In what year did the Armagnacs and the Burgundians reconcile?
Answer: In 1430
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: Why does Joan of Arc blame herself?
Answer: Because she believes that she betrayed the mission
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: Why is Joan of Arc assumed to be guilty?
Answer: Because she will not defend herself
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: What does the Joan of Arc see from her prison cell?
Answer: The battle between the French and English
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: What does Joan of Arc decide to do when she's about to kill the English knight?
Answer: She spares his life
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: Whose life is the play based on? 
Answer: Joan of Arc
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: Who does Joan fall in love with? 
Answer: An English knight she was about to kill.
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: Who wrote a novel based on a line from the play? 
Answer: Isaac Asimov
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: Where is Joan accused of sorcery? 
Answer: Reims
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: From where does Joan witness the defeat of the French? 
Answer: A prison cell.
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: Who captures Joan? 
Answer: The English.
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: Which two groups reconcile? 
Answer: The Armagnacs and the Burgundians.
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: How many acts are in the play? 
Answer: Five.
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: What ideals does the play embody? 
Answer: Nationalism and Militarism.
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: Whose life do the events of this story revolve around?
Answer: Joan of Arc
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: Why does Joan spare the knight that she was about to kill?
Answer: She falls in love with him at first sight
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: What is Joan accused of when she goes to Reims?
Answer: Sorcery
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: How does Joan eventually restore her honor in the eyes of her people?
Answer: She helps to defend the French army and lead them to victory
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: How does Joan feel about sparing the English knight?
Answer: She feels that she betrayed her mission
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: After her accusation, how is Joan punished?
Answer: She is dismissed from the French court and army
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: Who captures and imprisons Joan?
Answer: The English army
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: What happens to Joan in her last battle against the English army?
Answer: She dies but regains her reputation
The play loosely follows the life of Joan of Arc. It contains a prologue introducing the important characters, followed by five acts. Each dramatizes a significant event in Joan's life. Down into Act IV the play departs from history in only secondary details (e.g. by making Joan kill people in battle, and by shifting the reconciliation between the Armagnacs and the Burgundians from 1435 to 1430). Thereafter, however, the plot is entirely free. Joan is about to kill an English knight when, on removing his helmet, she at once falls in love with him, and spares him. Blaming herself for what she regards as a betrayal of her mission, then, when at Reims she is publicly accused of sorcery, she refuses to defend herself, is assumed to be guilty, and dismissed from the French court and army. Captured by the English, she witnesses from her prison cell a battle in which the French are being decisively defeated, breaks her bonds, and dashes out to save the day. She dies as victory is won, her honour and her reputation both restored.
The play reflects the new nationalism and militarism of the budding nineteenth century, and also the Kantian ideal of the need to subject emotion to moral principle.
The line "Mit der Dummheit kĂ¤mpfen GĂśtter selbst vergebens" (III, 6; Talbot) translates into English as "Against stupidity, the gods themselves contend in vain." This provided Isaac Asimov with the title of his novel The Gods Themselves.
This was the most performed (at least in Germany) of all Schiller's plays down to the Great War. In modern post-war Germany, its militarism is an embarrassment, but the dramatic power of the last two acts keeps the play on the stage.

Question: Where is Joan when she witnesses the French army being badly defeated by the English?
Answer: A prison cell