passage has a strong Shakespearean flavor. Are we, then, to infer that Shakespeare made his alteration of the play not earlier than 1599, at about the time when he was writing Henry V? See Appendix on The History of the Play.

IV. vii. 89, 94. 'em. The First Folio has 'him' in both cases, owing probably to misreading of 'hem' (i.e., 'em) in the manuscript.

V. i. 1, 2. Two events, separated by a considerable time, are here combined: the intervention of the Emperor Sigismund and the Pope in 1435 to secure peace in France, and the proposal to marry Henry to the daughter of the Count of Armagnac in 1442. Both these incidents long antedated Talbot's death.

V. iii. 1. The regent conquers. Historically, Bedford was regent of France when Joan was captured in 1430, but York is of course intended both here and in IV. vi. 2 (cf. IV. i. 162, 163).

V. iii. 6. monarch of the north. Evil spirits were identified with various quarters of the compass, particularly the east and the north.

V. iii. 29 S. d. Burgundy and York fight. So the Folio editions. Modern editors make the fight take place between Joan and York, but without justification. Joan's power has now disappeared and her part is passive. Probably the Exit after line 29, though in the old texts, should be omitted, leaving Joan a spectator of the fight which follows.

V. iii. 63. Twinkling another counterfeited beam. That is, each twinkling beam, reflected by the water, seems doubled.

V. iii. 68. is she not here? This is the reading of the First Folio. The second, third, and fourth, apparently troubled by the fact that the line has but four feet, added 'thy prisoner' after here, and they have been followed by most modern editors, though the words supplied are quite otiose.

V. iii. 75. [Aside]. This stage direction, here and in the following lines, is added by modern editors. It will be observed that the speeches so marked arc only partially inaudible.

V. iii. 78, 79. A quasi-proverbial saying, found in Titus Andronicus (II. i. 82, 83) and elsewhere.

V. iv. S. d. Rouen. Modern editors place this scene at the ‘Camp of the Duke of York, in Anjou,' to connect it with the previous scene which they put 'Before Angiers.' Really there are here two scenes, which, save for the authority of convention, ought to be separated. The first, dealing with the death of Joan in 1431, must be localized at Rouen. The second, beginning at line 94, dramatizes the peace negotiations which took place at Arras in 1435. With the meeting between Joan and her father should be contrasted the different treatment of the same theme in Act IV, scene xi, of Schiller's play. (Schiller, for dramatic effect, places the father's denunciation at Rheims immediately after the coronation of Charles VII.)

V. iv. 74. Alençon! that notorious Machiavel. The reference to Machiavelli (1469-1527) is an anachronism in York's mouth, but no modern figure was more familiarly talked of by the Elizabethans. By them he was regarded as the symbol of heartless ambition. It is very likely that in coupling Alençon with Machiavel the author intended a by-reference to the notorious Duke of Alençon who came a wooing to Queen Elizabeth in 1579 and aroused the violent antipathy of her subjects.

V. iv. 121. poison'd. This can perhaps be interpreted to mean that the throat poisoned by choler chokes the voice. Many editors, however, and with good reason, accept Theobald's emendation, 'prison'd.'

V. v. 93. Among the people gather up a tenth. Levy a special tax of ten per cent on incomes. Suf

folk's levy, however, is stated to have been a fifteenth, not a tenth, and in the first scene of the second part of the play we have the correct figure:

"That Suffolk should demand a whole fifteenth
For costs and charges in transporting her!'

(2 Estry VI, Î. i. 134, 135.)

APPENDIX A

SOURCES OF THE PLAY

The historical material in 1 Henry VI is arranged with a total disregard to chronology, as the notes on various passages indicate. The earliest event portrayed is the funeral of Henry V on November 7, 1422; the latest the recovery of Talbot's body after his death on July 17, 1453. In some parts, the play is certainly based upon Shakespeare's favorite authority, the second edition of Raphael Holinshed's Chronicle of England (1587). Close following of

vnto

this book is evident when the introduction of Joan of Arc (I. ii. 46-150) is compared with Holinshed's words: 'In time of this siege at Orleance Charles the Dolphin, at Chinon, as he was in verie great care and studie how to wrestle against the English nation . . was caried a yoong wench of an eighteene yeeres old, called Ione Are, by name of hir father (a sorie sheepheard) Iames of Are, and Isabell hir mother; brought vp poorelie in their trade of keeping cattell . . . Of fauour was she counted likesome, of person stronglie made and manlie, of courage great, hardie, and stout withall: an vnderstander of counsels though she were not at them; great semblance of chastitie both of bodie and behauiour. A person (as their bookes make hir) raised vp by power diuine, onelie for succour to the French estate then deepelie in distresse. From saint Katharins church of Fierbois in Touraine (where she neuer had beene and knew not) in a secret place there among old iron, appointed she hir sword to be sought out and brought hir, that with fiue floure delices was grauen on both sides, wherewith she fought and did

Dolphin into his gallerie when first she was brought, and he shadowing himselfe behind, setting other gai lords before him to trie hir cunning, from all the companie, with a salutation . . . she pickt him out alone; who therevpon had hir to the end of the gallerie, where she held him an houre in secret and priuate talke, that of his priuie chamber was thought veris long, and therefore would haue broken it off; but he made them a sign to let hir saie on. In which (among other), as likelie it was, she set out vnto him the singular feats (forsooth) giuen her to vnderstand by reuelation diuine, that in vertue of that sword shee should atchiue; which were, how with honor and victorie shee would raise the siege at Orleance, set him in state of the crowne of France, and driue the English out of the countrie, thereby he to inioie the kingdome alone. Heerevpon he hartened at full, appointed hir a sufficient armie with absolute power to lead them, and they obedientlie to doo as she bad them.'

The first edition of Holinshed (1577) and the other earlier English chroniclers are here briefer and quite different, containing no suggestion of the words out of which lines 60-68, 98-101, 118 ff. of the play are developed.1 Holinshed, however, is by no means the basis of the entire play. Several scenes—those of Talbot and the Countess of Auvergne, the roseplucking in the Temple Garden, Plantagenet's interview with Mortimer, and Suffolk's capture of Margaret-ha no discovered source. The first of these was probably borrowed from the legend of some popular warrior or outlaw, the others are fanciful embellishments of history.

1 Holinshed is certainly the source also of IV. i. 18 ff. See infra, p. 144.

2 The resemblance to Robin Hood stories, suggested by several critics, is of the vaguest.