JOANNINA JODELLE. 



247 



ed sword. A monument, with her bust, in marble, was 

 erected to her in Domremy, September, 1820. 



See Berriat St Prix, Jeanne d'Arc, ou Coup d'CEil 

 tur les Revolutions au Temps de Charles VI. et VII. 

 (Paris, 1817); Lebrun des Charmettes, .///. de Jeanne 

 d'Arc (from original documents. Paris, 1817, three 

 vols.); Jollois, Hist, abregee de la Vie et Exploits de 

 Jeanne d'Arc (Paris, 1821). The name of the maid of 

 Orleans is no less celebrated in the annals of poetry. 

 The epic and romantic character of this subject 

 has been variously managed by different authors. 

 Chapelain, a contemporary of cardinal Richelieu, in 

 his epic poem, La Pucelle, sang her exploits in 

 twelve times 1200 wretched verses, as Boileau says. 

 In 1730, Voltaire undertook to parody the monstrous 

 production of his predecessor, and, following Shak- 

 speare, who had introduced this subject as an episode 

 in the First Part of his Henry VI., where he repre- 

 sented the maid as a witch in confederacy with evil 

 spirits, he turned the whole stream of his impure wit 

 upon the subject. Thus was produced that too well 

 known mock heroic poem, which Mercier called " a 

 crime against the nation " (crime anti national). It 

 first appeared in print, 1757. The first poetical 

 attempt towards restoring a subject, thus profaned 

 by the grossest wit, to its native dignity, was made 

 by Robert Southey, in his epic Joan of Arc. Du- 

 menil's Epopee Jeanne d'Arc, on la France sauvee 

 (Paris, 1818), is very poor ; D'Avrigny's Pucelle 

 d' Or leans, a tragedy, has been occasionally per- 

 formed at Paris ; Alex. Soumet's Jeanne d'Arc, 

 Tragedie en cinq Actes et Vers, appeared in 1825. 

 But all these fall infinitely below the noble tragedy 

 of Schiller, Die Jungfrau von Orleans, which first 

 appeared in 1802. He has done more than Calixtus 

 III. for her fame ; he has restored the high-souled 

 enthusiast to her rightful place in the age orromance 

 to which she belongs. He shows us the chivalrous 

 heroine as an instrument of Heaven, engages our 

 love for her, and makes her fall in glorious strife 

 with her country's foes. Wetzel's Joan of Arc, a 

 tragedy (Leipsic, 1817), adheres more strictly than 

 Schiller's to historical truth. Lebrun des Charmettes' 

 Orleanide, a poem in twenty-eight cantos (Paris, 

 1820), is modelled after the drama of Schiller. 



JOANNINA, or JANINA ; the capital city of 

 Turkish Albania (Epirus), on the lake of Acherusia, 

 in which there is an island with a strong castle, 

 where resides the pacha of Janina. (See All, and 

 Greece, Revolution of.) The city has a Greek arch- 

 bishop, and about 30,000 inhabitants, mostly Greeks, 

 who carry on a considerable commerce with Austria, 

 Russia, and the Ionian islands. Joannina was for- 

 merly the centre of the literary intercourse between 

 the modern Greeks and Italy, France and Germany. 

 At the end of the last century, there were in this 

 city Iwo celebrated schools, in which mathematics 

 and philosophy, together with ancient Greek, were 

 taught. The one was founded by a merchant, Ghioni, 

 in the last half of the seventeenth century, the other 

 about 1790. They had two libraries and a cabinet of 

 natural history. The inhabitants of Joannina, who 

 are among the best informed and most industrious of 

 the Greeks, deposited the funds of the two colleges 

 in the treasury of Venice ; but, by the fall of that 

 republic, they were lost. The schools were, how- 

 ever, maintained by the generosity of three Epirots 

 in Russia the brothers Zosima and Pikrosoy; the 

 schools also received the interest of a million of 

 rubles deposited in Russia. At the bombardment of 

 the city by Ali Pacha, 1820, the buildings belonging 

 to these institutions were destroyed, and all the 

 books and manuscripts which they contained, among 

 which were the original manuscripts of the geogra- 

 pher Meletios, a native of Joannina., were burnt. 



Besides the Greeks, there are in Joannina Moham- 

 medans, Jews, and Gypsies, but they all speak Greek. 



JOB (Hebrew Hiob, i. e. the sufferer, the perse- 

 cuted) ; the hero of an ancient Hebrew poem, which 

 has been preserved to us in the canon of the Old 

 Testament. It has been much disputed whether Job 

 is a real or fictitious personage ; whether the poem 

 is epic, didactic, or dramatic ; who is the author ; 

 what was his age and country ; and when and where 

 the scene is laid. The work has been attributed to 

 Job himself, Moses, Elihu, Solomon, and others. 

 The scene of the poem (the land of Uz) is supposed 

 to be in Arabia ; but the time is by some placed in 

 the age of the patriarchs, and by others, after the 

 Babylonish captivity. The design of the work seems 

 to be a justification of divine Providence, and the 

 inculcating a submission to the divine dispensations. 

 The scene is partly in heaven and partly on earth ; 

 the actors are Jehovah, Satan, Job, and his fo".r 

 friends, Eliphaz, Bildad, Zophar, and Elihu. Job, 

 an upright man, with a family of seven sons and 

 three daughters, with large herds and numerous 

 servants, is suddenly, with the permission of Jehovah, 

 and by the agency of Satan, deprived of his posses- 

 sions and his children, yet submits patiently to the 

 divine will. He is then further tried by the infliction 

 of a sore disease, yet is silent. Three friends come 

 to console him ; but, struck with his desolate con- 

 dition, they burst into lamentations, and sit down 

 with him seven days in silence, " for they see that 

 his grief is very great." At the end of this period, 

 the grief of Job finally breaks out into bitter com- 

 plaints. The remainder of the poem is occupied 

 with the answers of his friends, and his replies to 

 them, until the close, when God himself is introduced 

 answering Job out of a whirlwind. After this event, 

 Job lived 140 years, became richer than he had 

 been before, and begat seven sons and three daugh- 

 ters. The whole poem is characterized by freshness 

 and truth of colouring, simplicity, and dignity of 

 manner, and loftiness and purity of sentiment. In- 

 tensity of passion is combined, in a striking manner, 

 with deep views of the nature of man and the provi- 

 dence of God. Stuhlmann (Hiob, ein religib'ses 

 Gedicht) maintains that Moses could not have been 

 the author of the poem, because it contains no allu- 

 sions to the Mosaic doctrines; though this argument 

 seems inconclusive, because, the scene being in 

 Arabia, and the persons Arabian, such allusions 

 would naturally be avoided. Doctor Good (The 

 Book of Job, from the Hebrew, with Notes, London, 

 1812) considers Moses to be the author, and calls it 

 a Hebrew epic. An Amended Version, with Notes, 

 by Mr Noyes, was published in Boston, America, 

 1827. See the Introductions of Eichhorn, Rosen- 

 muller and Jahn. 



JOCASTA (also Epicasta) ; daughter of Mence- 

 ceus, sister of Creon, and wife of the Theban king 

 Laius, by whom she had GEdipus. After having 

 unconsciously slain his own father, Laius, CEdipus 

 solved the riddle of the Sphinx, and received, as his 

 reward, the hand of Jocasta, his own mother (of 

 which circumstance he was ignorant). After the 

 error was discovered, Jocasta hanged herself in 

 despair. See CEdipus. 



JODELLE, ETIENNE, born at Paris, 1532, wrote 

 the first regular tragedies and comedies for the 

 French stage. Among the former are Cleopatra 

 captive and Didon. His comedy Eugene was praised 

 by Ronsard. Though Jodelle enjoyed the favour of 

 Charles IX. and of Henry II., he died in great 

 poverty in 1573. His works were collected by De 

 la Motte (Paris, 1574, 4to, and Lyons, 1597, 12mo) 

 He was one of the French Pleiads. See French 

 Theatre, in the article France. 



