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The only story concerning the play’s creation that Tyson does not appear to have come across is Lady Gregory’s contribution, documented in her Journals, of the Page’s sneeze when the wind changes in scene three. And, perhaps at last, he has laid to rest the story, charming though it may be, that Charlotte Shaw inspired the play by cunningly leaving books on Joan about the house for GBS to happen upon. He shows close familiarity with all of the critics - and there were many - who responded emotionally for and against the Shavian saint. Lawrence and Adelphi Terrace to Glengariff and Parknasilla in Ireland, back to Great Malvern again), quotes extensively from Shaw’s correspon­ dence (in both public and private collections), compares Shaw’s Joan with those of Percy MacKaye, Schiller, Shakespeare, Voltaire, Andrew Lang, Anatole France, and Mark Twain, and finds no less than four models for Shaw’s heroine. Tyson traces the dates and places of composition (from Great Malvern to Stratford-on-Avon, thence from Ayot St.

The Story of Shaw’s “ Saint Joan” provides an exhaustive study of the sources, manuscript drafts, and major first performances of the play.

Now, thanks to the diligent excavations of Brian Tyson, we can see how serious that claim was. $20.00 “Her real attraction is that she is a fact,” Shaw wrote to Archibald Hender­ son of “his” Saint Joan.

w il l ia m cragg / University of New Brunswick Brian Tyson, The Story of Shaw’s “Saint Joan” (McGill-Queen’s University Press, 1982).

25 “Winter and Rough Weather,” Saturday Night, 7 August 1954, pp. 2 4 Disraeli’s Grand Tour: Benjamin Disraeli and the Holy Land 1830-31 (London: Weidenfeld and Nicolson, 1982). 23 See the editors’ comment on Letter 238, Disraeli Letters, 1, 327. In lieu of an abstract, here is a brief excerpt of the content:ġ8 Quoted by Blake, p.