Samarkand state institute of foreign languages faculty of english philology and translation studies the chair of translation theory and practise

CONCLUSION
To conclude, In scenes of Shaw, the impartiality of the show is evident as Peter Coxon and the Earl of Warwick hold opposing views on Joan's capture. While Warwick accuses Joan of witchcraft, Coxon, who is the Bishop of Beauvais, disagrees and stands up against the false accusation. Despite Joan being a heretic, Coxon is more concerned about saving her soul as he believes she is a pious and virtuous girl. However, her pride drives her to destroy the church through dissension, similar to what the Devil used John Huss and John Wycliffe for. The reformer must reform within the church's authority, or else the church will be destroyed beyond repair by the brutal populace who see visions.
This conflict between personal conscience and authority is still prevalent today, as soldiers are ordered to exterminate non-combatants. While there may be doubts about the wisdom of such orders, it is essential to obey authority to prevent anarchy. The same tragedy that Joan faced is still emerging from the same elements, and viewers must move beyond easy condemnation of the Inquisition and easy canonization of Joan.
Critics have criticized Shaw's epilogue, but it is crucial to his theme. Joan's trial was much more dishonest than the one in which she was convicted and acquitted. Ladvenu, one of Joan's trialists, admits that the old court was perfect except for the unjust verdict, while the new trial, despite being full of perjury and corruption, ends in a just verdict. Charles is relieved that his rule is confirmed, and Joan is brought back to life, even though she was considered a witch and a heretic. However, her current fans will burn her in six months.
Shaw contends in his preface that the church's condemnation of Joan is not contradictory. Although the Roman Catholic Church does not consider personal judgment, it acknowledges that individuals may attain the highest wisdom through personal revelation, and that the Church will eventually canonize such individuals if there is sufficient evidence. Consequently, many saints were initially opposed to the Church before being canonized. Shaw posits that if Francis of Assisi had lived longer, he would have been persecuted, while Galileo might yet be canonized. Therefore, the epilogue highlights the intricacy inherent in Joan's battle with the Church.
In none of the discussed plays, and perhaps nowhere else in his oeuvre, with the possible exception of Caesar and Cleopatra, does Shaw present a hero grappling with the Vital Forces as convincingly as he does with Joan. Bluntschli is an intriguing soldier-adventurer; Martbanks, the crude poet; Tanner, a failed revolutionary; and Undershaft, a socialist arms manufacturer. Joan is both a Christian and a Shavian saint, unique in her sense of purpose among the characters in the play. As a result, St. Joan is the apex of Shaw's art. While other plays may encompass more of his typical literary and philosophical preoccupations, none captures his central preoccupations, those of the Life Force and creative evolution, with such dramatic integrity.