The Executioner's Knife; Or, Joan of Arc — A Reader’s Guide

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Sue, Eugène, 1804-1857, De Leon, Daniel, 1852-1914 [Translator] Project Gutenberg 2011 Not confirmed
Joan, of Arc, Saint, 1412-1431 -- Fiction; Biographical fiction; Christian fiction; Christian women saints -- Fiction Readers of public-domain and historical texts
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Words 105,895
Reading time 461 min
Text sections 11

The catalog record for The Executioner's Knife; Or, Joan of Arc — A Reader’s Guide provides practical reading context through 105,895 words, 7 hr 41 min estimated reading time, and 11 detected text sections.

The text analysis averages about 18.9 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Joan, of Arc, Saint, 1412-1431 -- Fiction,” connecting these edition facts with the source record’s subject description.

This editorial note examines the narrative voice and pacing in Eugène Sue's historical novel about Joan of Arc, focusing on the translation by Daniel De Leon and the shifts between intimate dialogue and military action.
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Domremy is a frontier village of Lorraine that cosily nestles on the slope of a fertile valley whose pasture grounds are watered by the Meuse. An oak forest, that still preserves some mementoes of druid tradition, reaches out almost to the village church. This church is the handsomest of all in the valley, which begins at Vaucouleurs and ends at Domremy. St. Catherine and St. Marguerite, superbly painted and gilded, ornament the sanctuary. St. Michael, the Archangel, with his sword in one hand and the scales in the other, glistens from the depths of a dark recess in the chapel. Happy is the valley that begins at Vaucouleurs and ends at Domremy! A royal seigniory, lost on the confines of Gaul, it has not yet suffered from the disasters of war that for more than a half century have been desolating the center of the country. Its inhabitants, profiting by the civil broils of their sovereign and his distance from them, being separated from his main domains by Champagne, which had fallen into the power of the English, had emancipated themselves from serfdom.

James Darc, a member of a family that had long been serfs of the Abbey of St. Remy, and subsequently of the Sire of Joinville before the fief of Vaucouleurs was consolidated with the royal domain, an honest laborer, stern head of his household and rather rude of manners, lived by the cultivation of the fields. His wife was called Isabelle Romée; his eldest son, Peter; the second, John; and his daughter, born on "the day of Kings" in 1412, was named Jeannette. At the time when this narrative commences, Jeannette was a little over thirteen years of age. She was of pleasant appearance, a sweet and pious child and endowed with precocious intelligence. Her disposition was serious for her age. This notwithstanding, she joined in the games of other girls, her friends, and never gloried in her own superior agility when, as usually happened, she won in the races. She could neither read nor write. Active and industrious, she helped her mother in the household, led the sheep to pasture and was skilful with the needle and at the distaff. Often pensive, when alone in secluded spots of the woods she watched over her flock, she found an inexpressible delight in listening to the distant sound of the church bells, to the point that at times she made little presents of fruits or skeins of wool to the parish clerk of Domremy, joining to the gifts the gentle request that he prolong a little the chimes of the vespers or of the Angelus.[1] Jeannette also took delight in leading her sheep in the ancient forest of oaks, known as the "Bois Chesnu",[2] towards a limpid spring shaded by a beech tree that was between two and three hundred years old and which was known in the region as the "Fairies' Tree". The legend had it that the priests of the old gods of Gaul sometimes appeared, dressed in their long white robes, under the dark vaults of the oaks of this forest, and that often little fairies approached the fountain by moonlight to see their reflection in its waters.

Jeannette did not fear the fairies, knowing that a single sign of the cross would put any malignant sprite to flight. She entertained a special spirit of devotion for St. Marguerite and St. Catherine, the two beautiful saints of the parish. When, on feast days, she accompanied her venerated parents to divine service, she was never tired of contemplating and admiring the good saints, who were at once smiling and majestic under their golden crowns. Likewise did St. Michael attract her attention. But the severity of the archangel's face and his flaming sword somewhat intimidated the young shepherdess, while, on the contrary, her dear saints inspired her with ineffable confidence.

Eugène Sue's The Executioner's Knife; Or, Joan of Arc (1910), translated by Daniel De Leon, is a historical novel that blends intimate character moments with large-scale military maneuvers. The narrative voice shifts between a close third-person perspective, focusing on Joan's physical and emotional state, and a more detached, almost documentary style when describing troop movements and battle plans. This dual register creates a distinctive rhythm, alternating between quiet, personal scenes and urgent, strategic sequences.

Intimate Details and Physicality

The narrative often grounds Joan's heroism in concrete, physical details. In the excerpt from May 7, 1429, the text notes that “the wound in her foot pained her severely” and that she “asked for her horse” despite the short distance. Such observations anchor the legendary figure in bodily reality. The translation preserves a matter-of-fact tone: Joan “re-armed herself with the help of Madeleine,” a phrase that emphasizes practical action over symbolic grandeur. These small, precise details—the wound, the need for assistance, the early hour—build a portrait of a leader who is both determined and vulnerable.

Dialogue as Strategy and Character

Dialogue in the excerpt serves dual functions: it advances the plot and reveals character. Joan's instructions to James Boucher are tactical—“to cause it to be proclaimed throughout the city”—but her parting jest about buying a shad and bringing back an English prisoner to “help us finish up the fish” injects a note of grim humor. This blend of strategic calculation and earthy wit is characteristic of Sue's portrayal. The translation by De Leon maintains a colloquial register in such exchanges, contrasting with the more formal language of the narrator's descriptions of councils and captains.

Pacing and the Accumulation of Action

The pacing in the May 7 excerpt is notable for its accumulation of preparatory actions. Joan gives instructions, mounts her horse, crosses the city, and issues orders to the cannonier, carpenter, and fisherman. The narrative lingers on each step, building tension through a series of concrete tasks: the construction of a drop-bridge, the filling of barges with fagots, the sending of messengers. This methodical listing of preparations creates a sense of impending action, while the repeated use of “she ordered” and “she sent” reinforces Joan's role as a decisive commander. The prose rhythm mirrors the logistical complexity of the assault.

Readers attentive to shifts in narrative distance will find that Sue alternates between a panoramic view of military strategy and a close-up of Joan's physical and emotional experience. The translation by Daniel De Leon, part of a larger series tracing a proletarian family across centuries, frames this episode within a broader historical and ideological context. The novel rewards those who notice how small gestures—a jest about fish, a mention of a wound—complicate the epic surface.

The rain drummed on the windowsill as I turned the last page of The Executioner's Knife, struck less by the battles than by the quiet, stubborn heart beneath Joan's armor. That same small, internal resistance surfaced later in Brenda's Bargain: A Story for Girls — Themes and Context, where a girl’s private bargain echoes the saint’s. Two strangers, sharing one whisper of courage.

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