Summary
I would like to begin this chapter with a dialogue:
“Thou hast played boy to every Bulgar in London. Why, even worn men's clothes to
please their lust.” He stares at her.” Answer yea or nay.”
“I have worn men's clothes, sir.”
“For which thou shalt roast in hell.”
“I shan't be alone, sir.”
“Did God command you to put on men's clothing?”
“My clothing is a small matter, one of the least. But I did not put on men's clothing by
the counsel of any man on earth. I did not put on this clothing, nor do anything else,
except at the bidding of God and the angels”
[…]
“When you saw the voice coming to you, was there any light?”
“There was light all about, as there should be! All light does not come to you.”
[…]
“Have the saints who appear to you hair?”
“It is a good thing to know.”
“What color were his eyes?”
“Dark and quick, not as an honest man’s.”
“Was he naked?”
“Do you think that God has not wherewithal to clothe him?”
These fragments of dialogue are spoken in the courtroom. The place: England. The interrogator: a man. On the witness stand: a woman. The subject of the cross-examination: a meeting or meetings of the woman with a non- or superhuman entity. Despite the common subject matter and the evident thematic continuity, I must confess that I myself wove these fragments together. In fact, the fragments of the dialogue belong to two separate heroines: to Joan of Arc and her interrogators in 1429 and to Rebecca Lee in 1739, as they appear in the proceedings of the trial recorded in 1996 by Willard Trask in Joan of Arc: In Her Own Words, and as described by John Fowles in his 1985novel A Maggot, respectively. My combination of the fragments was made possible by the fact that the interrogation of Joan of Arc hovers in the background of Fowles's novel, which is, in this respect, a rewrite of the original, and can therefore be called a “disguised version.”
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- Information
- Film Remakes as Ritual and DisguiseFrom Carmen to Ripley, pp. 101 - 116Publisher: Amsterdam University PressPrint publication year: 2006