appearing in the slightest degree aware of the fact, tells the same stories twice over, introducing each time different and contradictory circumstances. La Chronique de la Pucelle ends abruptly with the King's return to Berry after his defeat before Paris.

Le Mystère du siège[25] must be classed with the chronicles. It is in fact a rhymed chronicle in dialogue, and it would be extremely interesting for its antiquity alone were it possible to do what some have attempted and to assign to it the date 1435. The editors, and following them several scholars, have believed it possible to identify this poem of 20,529 lines with a certain mistaire[26] played on the sixth anniversary of the delivery of the city. They have drawn their conclusions from the following circumstances: the Maréchal de Rais, who delighted to organise magnificent farces and mysteries, was in Duke Charles's city expending vast sums[27] there from September, 1434, till August, 1435; in 1439 the city purchased out of its municipal funds "a standard and a banner, which had belonged to Monseigneur de Reys and had been used by him to represent the manner of the storming of Les Tourelles and their capture from the English."[28] From such a statement it is impossible to prove that in 1435 or in 1439, on May 8, there was acted a play having the Siege for its subject and the Maid for its heroine. If, however, we take "the manner of the storming of Les Tourelles" to mean a mystery rather than a pageant or some other form of entertainment, and if we consider the certain mistaire of 1435 as indicating a representation of that siege which had been laid and raised by the English, we shall thus arrive at a mystery of the siege. But even then we must examine whether it be that mystery the text of which has come down to us.

Among the one hundred and forty speaking personages in this work is the Maréchal de Rais. Hence it has been concluded that the mystery was written and acted before the lawsuit ended by that sentence to which effect was given above the Nantes Bridge, on October 20, 1440. How, indeed, it has been asked, after so ignominious a death could the vampire of Machecoul have been represented to the people of Orléans as fighting for their deliverance? How could the Maid and Blue Beard be associated in a heroic action? It is hard to answer such a question, because we cannot possibly tell how much of that kind of thing could be tolerated by the barbarism of those rude old times. Perhaps our text itself, if properly examined, will be found to contain internal evidence as to whether it is of an earlier or later date than 1440.

The bastard of Orléans was created Count of Dunois on July 14, 1439.[29] The lines of the mystery, in which he is called by this title, cannot therefore be anterior to that date. They are numerous, and, by a singularity which has never been explained, are all in the first third of the book. When Dunois reappears later he is the Bastard again. From this fact the editors of 1862 concluded that five thousand lines were prefixed to the primitive text subsequently, although they in no way differ from the rest, either in language, style, or prosody. But may the rest of the poem be assigned to 1435 or 1439?

That is not my opinion. In the lines 12093 and 12094 the Maid tells Talbot he will die by the hand of the King's men. This prophecy must have been made after the event: it is an obvious allusion to the noble captain's end, and these lines must have been written after 1453.

Six years after the siege no clerk of Orléans would have thought of travestying Jeanne as a lady of noble birth.

In line 10199 and the following of the "Mistère du Siège" the Maid replies to the first President of the Parlement of Poitiers when he questions her concerning her family:

Before a clerk would write thus, Jeanne's family must have been long ennobled and the first generation must have died out, which happened in 1469; there must have come into existence that numerous family of the Du Lys, whose ridiculous pretensions had to be humoured. Not content with deriving their descent from their aunt, the Du Lys insisted on connecting the good peasant Jacquot d'Arc with the old nobility of Bar.

Notwithstanding that Jeanne's reference to "her father's mansion" conflicts with other scenes in the same mystery, this lengthy work would appear to be all of a piece.

It was apparently compiled during the reign of Louis XI, by a citizen of Orléans who was a fair master of his subject. It would be interesting to make a more detailed study of his authorities than has been done hitherto. This poet seems to have known a Journal du siège very different from the one we possess.

Was his mystery acted during the last thirty years of the century at the festival instituted to commemorate the taking of Les Tourelles? The subject, the style, and the spirit are all in harmony with such an occasion. But it is curious that a poem composed to celebrate the deliverance of Orléans on May 8 should assign that deliverance to May 9. And yet this is what the author of the mystery does when he puts the following lines into the mouth of the Maid: