her simply as Pucelle (spelled 'Puzel' or 'Pucell'). The stage direction after line 63 of this scene calls her 'Ioane Puzel,' that after line 103 'Ioane de Puzel' (so also in I. vi. 3 and V. iii. S. d.). In II. i and V. iv she appears as 'Ioane,' but is only twice called Joan of Arc ('Acre' or 'Aire' in the Folio; cf. II. ii. 20 and V. iv. 49). Mr. Fleay attempted to find in these differences of name a clue to the play's authorship.

I. ii. 131. Saint Martin's summer. Summer in the midst of autumn. The reference is to the unseasonably warm weather often occurring about St. Martin's Day (November 11).

I. ii. 138, 139. The allusion is to a common but probably unhistoric story recorded in Plutarch's Life of Cæsar. During the war with Pompey, when the latter's navy commanded the sea, Cæsar embarked on a small pinnace incognito 'as if he had bene some poore man of meane condition,' with the idea of crossing to his army at Brundisium. A storm arose and the commander of the vessel ordered his men to put back. 'Cæsar, hearing that, straight discouered himselfe vnto the Maister of the pynnase, who at the first was amazed when he saw him: but Cæsar then taking him by the hand sayd vnto him, Good fellow, be of good cheare, and forwards hardily, feare not, for thou hast Cæsar & his fortune with thee.' (North's translation, 1579.) Peele mentions the episode in a similar manner in his Farewell to Norris and Drake (1589):

'and let me say

To you, my mates, as Cæsar said to his,

Striving with Neptune's hills; you bear, quoth he,
Cæsar, and Cæsar's fortune in your ships.'

I. ii. 140. Was Mahomet inspired with a dove? This alludes to a trick ascribed to Mahomet by several Elizabethan writers. Thomas Nashe has two references to it, and Nashe's most recent editor quotes the

following from an earlier work, Strange Things out of Seb. Munster (1574): 'For he [Mahomet] accustomed and taught a Doue to be fedde and fetch meate [i.e., food] at his eares, the which Doue his moste subtile and craftye maister called the holy Ghoste. He preached openly, and made his bragges like a most lying villen that this Doue did shew vnto him the most secrete counsel of God, as often as the simple fowle did flye vnto his eares for nourishment.' (McKerrow's Nashe, iv. 200.)

I. ii. 142. Helen, the mother of great Constantine. The reputed discoverer of the True Cross. Two frescoes representing this legend adorned the Guild Chapel at Stratford in Shakespeare's time. See reproductions in Ward, Shakespeare's Town and Times, p. 33.

I. ii. 143. Saint Philip's daughters. Referred to in Acts 21. 9 as 'virgins, which did prophesy.'

I. iii. 19. The Cardinal of Winchester. Editors have pointed out that the mention of Winchester's cardinalate in this scene is inconsistent with the fact that he is represented as only just made cardinal in V. i. 28 ff. and is called bishop in III. i. 53 and IV. i. Winchester became cardinal in 1427, but the chroniclers report that there had been much previous talk of his probable elevation.

1.

I. iii. 22. Woodvile. Holinshed records that when Gloucester wished to enter the Tower, 'Richard Wooduile esquier (hauing at that time the charge of the keeping of the Tower) refused his desire; and kept the same Tower against him vndulie and against reason, by the commandement of my said lord of Winchester.' Woodvile became a person of great consequence upon the marriage, nearly forty years later, of his daughter to Edward IV, and in 1466 was created Earl Rivers.

I. iii. 34. dead lord.

Thou that contriv'dst to murder our The fourth of five charges brought

against Winchester by Gloucester (in 1426) relates to the former's alleged complicity in an attempt to murder the Prince of Wales, later Henry V. The same scandal has been more obscurely insinuated by Gloucester in I. i. 33, 34.

I. iii. 35. The disorderly houses on the Southwark bank of the Thames were under the control of the Bishop of Winchester and paid him a revenue. The proximity of these houses to the Rose Theatre, where this play appears to have been first acted (and to the later Globe), doubtless gave point to the allusion.

I. iii. 39. This be Damascus, be thou cursed Cain. Several popular medieval works (Mandeville's Travels, Higden's Polychronicon) gave currency to the belief that Abel was slain on the site of Damascus.

I. iv. 23-56. This passage involves several anachronisms. Salisbury's mortal wound was received at Orleans in October, 1428. Talbot was captured at Patay in June, 1429, and was not released by exchange with Santrailles till 1433. I. iv. 95. Plantagenet. Montacute, not Plantagenet, was Salisbury's name. Furthermore, the appellation Plantagenet was not adopted by the English royal family till after Salisbury's death. It first appears in public records in 1460, being revived by one of the characters in this play, Richard Duke of York, as a means of expressing superiority of descent over the Lancastrian line (cf. D. N. B. s. v. Plantagenet).

like thee. The reading of the First Folio, meaning 'I will be as unconcernedly remorseless as you have been.' The next line carries with it a subordinate reminiscence of the well-known story of Nero, which led the later Folios to alter like thee to 'Nero-like will.' Malone then blended the two readings into the vapid 'like thee, Nero,' a perversion which nearly all modern editors have unfortunately accepted.

I. iv. 107. dolphin or dogfish. Dogfish, a small shark, was commonly used as an opprobrious epithet. Dolphin is the invariable form of the French title Dauphin in the early editions of the play. Modern editors substitute the present spelling in all cases except this, where the pun requires retention of the older form. It should be remarked that the Dauphin of the play was from the legitimist French point of view King of France (Charles VII) through the entire course of the action, since the death of his father, Charles VI, occurred only two months after that of Henry V. The English, however, ignored Charles VII's pretensions to the throne and continued to employ his old title.

I. v. 6. Blood will I draw on thee, thou art a witch. Johnson asserted the existence of a superstition that 'he that could draw the witch's blood was free from her power'; but no confirmation of this has apparently been found in Elizabethan literature.

I. v. 14 S. d. Joan here goes from the lower to the upper stage of the Elizabethan theatre, lines 1518 being spoken from the upper or balcony stage.

I. v. 21. like Hannibal. The allusion is perhaps to the stratagem recorded by Livy (bk. xxii. c. 16, 17); Hannibal extricated his forces from an unfavorable position by driving against Fabius's army during the night two thousand oxen with blazing fagots tied to their horns.

I. v. 28. tear the lions out of England's coat. The armorial dress of the kings of England was embroidered with three lions (or leopards).

I. vi. 4. Astræa's daughter. That is, daughter of Justice, in allusion to the myth that Astræa forsook the world when it became corrupt, and carried her divine scales to the constellation of Libra. Spenser develops the legend elaborately at the opening of the fifth book of the Fairy Queen; and Peele's Descensus Astrææ turns it into a pageant in honor

of the installation of a new lord mayor of London in 1591.

I. vi. 6. Adonis' gardens. What these were in classic literature has been acrimoniously disputed, but a beautiful and extended description, which perhaps inspired the present line, is given by Spenser, Fairy Queen, bk. iii. canto vi.

I. vi. 22. Rhodope's of Memphis. One of the most beautiful pyramids was said to have been built by Rhodope, a Greek courtesan who married the king of Memphis. The reading in the text is a conjecture of Capell for 'Rhodophes or Memphis' of the Folios.

I. vi. 25. the rich-jewell'd coffer of Darius. Alexander the Great is said to have kept Homer's poems under his pillow at night and during the day to have carried them 'in the rich iewel cofer of Darius, lately before vanquished by him in battaile.' (Puttenham, Art of English Poesie, 1589.)

II. i. 7 S. d. dead march. The dead march is in honor of Salisbury, whose body is carried with the army. Cf. line 4 of the next scene. (Hart.)

II. i. 8. redoubted Burgundy. Philip the Good, Duke of Burgundy, had been alienated from the Dauphin by the treacherous murder of his father in 1419. He was the ally of the English from the time of the treaty of Troyes (1420) till 1435. He was

the second cousin of Charles VII and father of the famous Charles the Bold.

II. i. 38 S. d. The French leap o'er the walls in their shirts. This entire episode, which the dramatist has transferred to Orleans, is based upon an incident that really occurred in May, 1428 (a year before the relief of Orleans), at Le Mans in the adjacent province of Maine. Holinshed, following earlier chroniclers, records that the Frenchmen, surprised by an early morning counter-attack, 'got vp in their shirts, and lept ouer the walles.'