WITHIN WEEKS OF THE first performance of Maria Stuart in Weimar, Schiller turned to another historical subject, Joan of Arc, completing his next play in mid-April of the following year. While writing the play he wavered between great enthusiasm and agony over the problems he had created for himself. This had much to do with the way he believed the play would work in the theater. Both the first production of the play in Leipzig, premiered on 19 September 1801, and the production in Weimar in March 1804 met with acclaim. They were followed by enthusiastically received (though heavily censored) productions in Berlin and Dresden and a less successful adaptation in Vienna. Schiller was worried about the way actors would handle his verse and was critical of Iffland's production in Berlin, which made use of the resources of the large stage in Berlin with large numbers of actors and lavish costumes and scenery. He believed it overemphasized pomp and ceremony to the detriment of the more subtle and complex psychological issues. Although it has provided fewer “geflügelte Worte’ (quotable lines) than other plays by Schiller, Die Jungfrau von Orleans has proven enormously popular in certain periods, especially when patriotism and the notion of sacrifice for king and country have been in vogue. It has proved easy to single out Johanna's lines, “Was ist unschuldig, heilig, menschlich gut, / Wenn es der Kampf nicht ist um's Vaterland’ (ll. 1782–83; What is innocent, sacred, good for humanity if not the struggle for one's country) as the message of the play.