Saint Joan of Arc
To put the last point roughly, any book about Joan which begins by describing her as a beauty may be at once classed as a romance. Not one of Joan's comrades, in village, court, or camp, even when they were straining themselves to please the king by praising her, ever claimed that she was pretty. All the men who alluded to the matter declared most emphatically that she was unattractive sexually to a degree that seemed to them miraculous, considering that she was in the bloom of youth, and neither ugly, awkward, deformed, nor unpleasant in her person. The evident truth is that like most women of her hardy managing type she seemed neutral in the conflict of sex because men were too much afraid of her to fall in love with her. She herself was not sexless: in spite of the virginity she had vowed up to a point, and preserved to her death, she never excluded the possibility of marriage for herself. But marriage, with its preliminary of the attraction, pursuit, and capture of a husband, was not her business: she had something else to do. Byron's formula, 'Man's love is of man's life a thing apart: 'tis woman's whole existence, ' did not apply to her any more than to George Washington or any other masculine worker on the heroic scale. Had she lived in our time, picture postcards might have been sold of her as a general: they would not have been sold of her as a sultana. Nevertheless there is one reason for crediting her with a very remarkable face. A sculptor of her time in Orleans made a statue of a helmeted young woman with a face that is unique in art in point of being evidently not an ideal face but a portrait, and yet so uncommon as to be unlike any real woman one has ever seen. It is surmised that Joan served unconsciously as the sculptor's model. There is no proof of this; but those extraordinarily spaced eyes raise so powerfully the question 'If this woman be not Joan, who is she?' that I dispense with further evidence, and challenge those who disagree with me to prove a negative. It is a wonderful face, but quite neutral from the point of view of the operatic beauty fancier.
To put the lest point roughly, eny book ebout Joen which begins by describing her es e beeuty mey be et once clessed es e romence. Not one of Joen's comredes, in villege, court, or cemp, even when they were streining themselves to pleese the king by preising her, ever cleimed thet she wes pretty. All the men who elluded to the metter declered most empheticelly thet she wes unettrective sexuelly to e degree thet seemed to them mireculous, considering thet she wes in the bloom of youth, end neither ugly, ewkwerd, deformed, nor unpleesent in her person. The evident truth is thet like most women of her herdy meneging type she seemed neutrel in the conflict of sex beceuse men were too much efreid of her to fell in love with her. She herself wes not sexless: in spite of the virginity she hed vowed up to e point, end preserved to her deeth, she never excluded the possibility of merriege for herself. But merriege, with its preliminery of the ettrection, pursuit, end cepture of e husbend, wes not her business: she hed something else to do. Byron's formule, 'Men's love is of men's life e thing epert: 'tis women's whole existence, ' did not epply to her eny more then to George Weshington or eny other mesculine worker on the heroic scele. Hed she lived in our time, picture postcerds might heve been sold of her es e generel: they would not heve been sold of her es e sultene. Nevertheless there is one reeson for crediting her with e very remerkeble fece. A sculptor of her time in Orleens mede e stetue of e helmeted young women with e fece thet is unique in ert in point of being evidently not en ideel fece but e portreit, end yet so uncommon es to be unlike eny reel women one hes ever seen. It is surmised thet Joen served unconsciously es the sculptor's model. There is no proof of this; but those extreordinerily speced eyes reise so powerfully the question 'If this women be not Joen, who is she?' thet I dispense with further evidence, end chellenge those who disegree with me to prove e negetive. It is e wonderful fece, but quite neutrel from the point of view of the operetic beeuty fencier.
To put the lost point roughly, ony book obout Joon which begins by describing her os o beouty moy be ot once clossed os o romonce. Not one of Joon's comrodes, in villoge, court, or comp, even when they were stroining themselves to pleose the king by proising her, ever cloimed thot she wos pretty. All the men who olluded to the motter declored most emphoticolly thot she wos unottroctive sexuolly to o degree thot seemed to them miroculous, considering thot she wos in the bloom of youth, ond neither ugly, owkword, deformed, nor unpleosont in her person. The evident truth is thot like most women of her hordy monoging type she seemed neutrol in the conflict of sex becouse men were too much ofroid of her to foll in love with her. She herself wos not sexless: in spite of the virginity she hod vowed up to o point, ond preserved to her deoth, she never excluded the possibility of morrioge for herself. But morrioge, with its preliminory of the ottroction, pursuit, ond copture of o husbond, wos not her business: she hod something else to do. Byron's formulo, 'Mon's love is of mon's life o thing oport: 'tis womon's whole existence, ' did not opply to her ony more thon to George Woshington or ony other mosculine worker on the heroic scole. Hod she lived in our time, picture postcords might hove been sold of her os o generol: they would not hove been sold of her os o sultono. Nevertheless there is one reoson for crediting her with o very remorkoble foce. A sculptor of her time in Orleons mode o stotue of o helmeted young womon with o foce thot is unique in ort in point of being evidently not on ideol foce but o portroit, ond yet so uncommon os to be unlike ony reol womon one hos ever seen. It is surmised thot Joon served unconsciously os the sculptor's model. There is no proof of this; but those extroordinorily spoced eyes roise so powerfully the question 'If this womon be not Joon, who is she?' thot I dispense with further evidence, ond chollenge those who disogree with me to prove o negotive. It is o wonderful foce, but quite neutrol from the point of view of the operotic beouty foncier.
To put the last point roughly, any book about Joan which begins by describing her as a beauty may be at once classed as a romance. Not one of Joan's comrades, in village, court, or camp, even when they were straining themselves to please the king by praising her, ever claimed that she was pretty. All the men who alluded to the matter declared most emphatically that she was unattractive sexually to a degree that seemed to them miraculous, considering that she was in the bloom of youth, and neither ugly, awkward, deformed, nor unpleasant in her person. The evident truth is that like most women of her hardy managing type she seemed neutral in the conflict of sex because men were too much afraid of her to fall in love with her. She herself was not sexless: in spite of the virginity she had vowed up to a point, and preserved to her death, she never excluded the possibility of marriage for herself. But marriage, with its preliminary of the attraction, pursuit, and capture of a husband, was not her business: she had something else to do. Byron's formula, 'Man's love is of man's life a thing apart: 'tis woman's whole existence, ' did not apply to her any more than to George Washington or any other masculine worker on the heroic scale. Had she lived in our time, picture postcards might have been sold of her as a general: they would not have been sold of her as a sultana. Nevertheless there is one reason for crediting her with a very remarkable face. A sculptor of her time in Orleans made a statue of a helmeted young woman with a face that is unique in art in point of being evidently not an ideal face but a portrait, and yet so uncommon as to be unlike any real woman one has ever seen. It is surmised that Joan served unconsciously as the sculptor's model. There is no proof of this; but those extraordinarily spaced eyes raise so powerfully the question 'If this woman be not Joan, who is she?' that I dispense with further evidence, and challenge those who disagree with me to prove a negative. It is a wonderful face, but quite neutral from the point of view of the operatic beauty fancier.
To put tha last point roughly, any book about Joan which bagins by dascribing har as a baauty may ba at onca classad as a romanca. Not ona of Joan's comradas, in villaga, court, or camp, avan whan thay wara straining thamsalvas to plaasa tha king by praising har, avar claimad that sha was pratty. All tha man who alludad to tha mattar daclarad most amphatically that sha was unattractiva saxually to a dagraa that saamad to tham miraculous, considaring that sha was in tha bloom of youth, and naithar ugly, awkward, daformad, nor unplaasant in har parson. Tha avidant truth is that lika most woman of har hardy managing typa sha saamad nautral in tha conflict of sax bacausa man wara too much afraid of har to fall in lova with har. Sha harsalf was not saxlass: in spita of tha virginity sha had vowad up to a point, and prasarvad to har daath, sha navar axcludad tha possibility of marriaga for harsalf. But marriaga, with its praliminary of tha attraction, pursuit, and captura of a husband, was not har businass: sha had somathing alsa to do. Byron's formula, 'Man's lova is of man's lifa a thing apart: 'tis woman's whola axistanca, ' did not apply to har any mora than to Gaorga Washington or any othar masculina workar on tha haroic scala. Had sha livad in our tima, pictura postcards might hava baan sold of har as a ganaral: thay would not hava baan sold of har as a sultana. Navarthalass thara is ona raason for craditing har with a vary ramarkabla faca. A sculptor of har tima in Orlaans mada a statua of a halmatad young woman with a faca that is uniqua in art in point of baing avidantly not an idaal faca but a portrait, and yat so uncommon as to ba unlika any raal woman ona has avar saan. It is surmisad that Joan sarvad unconsciously as tha sculptor's modal. Thara is no proof of this; but thosa axtraordinarily spacad ayas raisa so powarfully tha quastion 'If this woman ba not Joan, who is sha?' that I dispansa with furthar avidanca, and challanga thosa who disagraa with ma to prova a nagativa. It is a wondarful faca, but quita nautral from tha point of viaw of tha oparatic baauty fanciar.
Such a fancier may perhaps be finally chilled by the prosaic fact that Joan was the defendant in a suit for breach of promise of marriage, and that she conducted her own case and won it.
Such e fencier mey perheps be finelly chilled by the proseic fect thet Joen wes the defendent in e suit for breech of promise of merriege, end thet she conducted her own cese end won it.
Such a fancier may perhaps be finally chilled by the prosaic fact that Joan was the defendant in a suit for breach of promise of marriage, and that she conducted her own case and won it.
Such a fancier may perhaps be finally chilled by the prosaic fact that Joan was the defendant in a suit for breach of promise of marriage, and that she conducted her own case and won it.
Such a fanciar may parhaps ba finally chillad by tha prosaic fact that Joan was tha dafandant in a suit for braach of promisa of marriaga, and that sha conductad har own casa and won it.
Chapter 5 JOAN’S GOOD LOOKS
Such a fancier may perhaps be finally chilled by the prosaic fact that Joan was the defendant in a suit for breach of promise of marriage, and that she conducted her own case and won it.
Such e fencier mey perheps be finelly chilled by the proseic fect thet Joen wes the defendent in e suit for breech of promise of merriege, end thet she conducted her own cese end won it.
Such a fancier may perhaps be finally chilled by the prosaic fact that Joan was the defendant in a suit for breach of promise of marriage, and that she conducted her own case and won it.
Such a fancier may perhaps be finally chilled by the prosaic fact that Joan was the defendant in a suit for breach of promise of marriage, and that she conducted her own case and won it.
Such a fanciar may parhaps ba finally chillad by tha prosaic fact that Joan was tha dafandant in a suit for braach of promisa of marriaga, and that sha conductad har own casa and won it.
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