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i. e. the order in which I wrote it down (Vaughan, "them off my pen," or, the method of them"); III. i. 13. MICKLE, great, much (Theobald, "milky"); IV. vi. 35. MINOTAURS, alluding to the monsters in the Cretan Labyrinth; V. iii. 189.

MISCARRY, be lost, die; IV. iii. 16. MISCONCEIVED, misjudging one; V. iv. 49.

MISER, miserable wretch; V. iv. 7. MONARCH OF THE NORTH, Lucifer

(as in Milton), or perhaps the devil Zimimar, mentioned by Reginald Scot as “the king of the north"; V. iii. 6. MORTALITY, death; IV. v. 32. MOTION, offer, proposal; V. i. 7.

MOUTH, bark, bay; II. iv. 12. MULETERS, Mule-drivers (Rowe, "muleteers"); III. ii. 68. MUNITION, ammunition; I. i. 168. MUSE, marvel, wonder; II. ii. 19.

NEGLECTION, neglect; IV. iii. 49. NEPHEW, used loosely for cousin

(Rowe, "cousin"); II. v. 64. NESTOR-LIKE, i. e. like Nestor, the oldest and wisest hero before Troy; II. v. 6.

NOBLE, a gold coin of the value of six shillings and eight pence; V. iv. 23. NOURISH, probably="nurse" (often spelled "norice," or "nurice" in older English); Theobald conjectured "nourice," the French spelling. Steevens states that a stew, in which fish are preserved, was anciently called a "nourish,"; (Pope, "marish," the older form of marsh); I. i. 50.

OBJECTED, "well o.," well pro

posed; II. iv. 43.

OBLOQUY, disgrace; II. v. 49. OBSTACLE, a vulgar corruption of "obstinate" (Walker, "obstinate"); V. iv. 17.

OLIVERS AND ROWLANDS, alluding to the two most famous of Charlemagne's peers; I. ii. 30. ORDER; "take some o.," make the necessary dispositions, take measures; III. ii. 126. ORDNANCE, a small gun, cannon; I. iv. 15.

OTHERWHILES, at other times; I. ii. 7.

OVERPEER, look down on; I. iv. 11.

PACKING, "be p.," go away, make haste; IV. i. 46.

PARTAKER, Confederate; II. iv. 100.

PARTIES, parts, sides (Pope, "parts"); V. ii. 12.

PARTY, part, side; II. iv. 32. PATRONAGE, maintain, make good; III. i. 48.

PEEBLE (Ff. 1, 2, "peeble"; Ff. 3, 4, "peble"); III. i. 80. PEEL'D, shaven (Ff. "Piel'd";

Grey, "Pied"; Collier, “Pill'd"); I. iii. 30.

PEEVISH, Silly, childish; II. iv. 76. PENDRAGON, the father of King Arthur; III. ii. 95.

PERIAPTS, amulets; V. iii. 2. PERIOD, end; IV. ii. 17. PERUSE, examine; IV. ii. 43. PITCH, height; II. iii. 55. PITCH A FIELD, "from the custom of planting sharp staves in the ground against the hostile horse came the signification of marshalling, arranging in a military sense" (Schmidt); III. i. 103.

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REPUGN, oppose; IV. i. 94. RESOLVED, convinced, satisfied;

III. iv. 20.

RESTS, remains; II. i. 75. REVOLVE On, be assured of; I. ii. 91.

RIVE, discharge (Johnson, "drive"; Vaughan, "rain"); IV. ii. 29.

ROPE; "a rope! a rope!" a cry often taught to parrots, in order to turn a joke against the passer-by; I. iii. 53.

RUIN, fall; IV. vii. 10.

SCRUPLE, doubtful perplexity; V. iii. 93.

SECURE, unsuspecting, confident; II. i. 11.

SHOT, marksmen; I. iv. 53. SIRRAH, an appellation addressed to inferior persons; III. i. 62. SMEAR'D, stained, smirched; (Vaughan, “snared”); IV. vii.

3. SOLICIT, rouse, stir up. vide Note; V. iii. 190.

SORT, choose; II. iii. 27.

SPEND, expend, vent; I. ii. 16. SPLEEN, fire, impetuosity; IV. vi.


STAND, withstand, resist; I. i. 123. STERN; "chiefest stern," highest place; I. i. 177.

STILL, continually; I. iii. 63. STOMACHS, resentment; I. iii. 90. SUBSCRIBE, Submit, yield; II. iv.


SWART, Swarthy, dark-complexioned; I. ii. 84.

SWEETING, a term of endearment; III. iii. 21.

TAINT, tainted; V. iii. 183. TALBOTITES, name given to the English in contempt (Theo

bald's emendation of Ff., "Talbonites"; Hanmer, "Talbotines"); III. ii. 28.

TAWNY COATS, coats of a yellowish dark color, the usual livery of ecclesiastical attendants; I. iii. 47.

TEMPER, quality, hardness; II. iv.


TENDERING, having care for (Tyr

whitt, "Tending"; Beckett, "Fending"); IV. vii. 10. TIMELESS, untimely; V. iv. 5. To, compared to, to equal; III. ii. 25.

TOMYRIS, the Queen of the Mas

sagetoe, by whom Cyrus was
slain; II. iii. 6.

Toy, trifle; IV. i. 145.
TRAFFIC, transaction; V. iii. 164.
TRAIN'D, lured; II. iii. 35.

TRIUMPH, tournament; V. v. 31.

UNABLE, weak, impotent; IV. v. 4.

UNACCUSTOM'D, unusual, extraordinary; III. i. 93.

UNAVOIDED, inevitable; IV. v. 8. UNAWARES, by surprise; III. ii. 39.

UNFALLIBLE, infallible, certain;

(Rowe, “infallible"); I. ii. 59. UNKIND, unnatural; IV. i. 193. UNREADY, undressed; II. i. 39.

VAIL, lower, let fall (Ff. 1, 2, "vale"); V. iii. 25.

VANTAGE, advantage, "for v.,” to take your time; IV. v. 28. VAWARD, Vanguard; Ff., "Vauward"; Theobald conj., "rereward" (but probably "vaward" "in the front line of his own troop"); I. i. 132.

WALLOON, a native of the border

country between the Netherlands and France; (Ff. 1, 2, "Wallon"); I. i. 137.

WARRANTIZE, surety; I. iii. 13. WASHFORD, an old name of Wex

ford, in Ireland; IV. vii. €3. WEENING, deeming, thinking; II. v. 88.

WHERE, whereas; (Pope, "While"); V. v. 47.

WILL'D, commanded; I. iii. 10. WINCHESTER GOOSE, a cant term for a swelling in the groin, the result of disease; I. iii. 53. WITTING, knowing; II. v. 16. WONT, are wont, accustomed; (Ff., "Went"; Vaughan, "Won"; Hanmer, "Watch"); I. iv. 10.

WOODEN; "a w. thing," "an awkward business, not likely to succeed" (Steevens); V. iii. 89. WORTHLESS, unworthy; IV. iv. 21. WOT, know; IV. vi. 32.

WRITHLED, wrinkled; II. iii. 23.

YIELD, admit; II. iv. 42.




1. Give an outline of the movements of the successive acts, and the relation of their respective scenes to each other, and to the general action of the whole of Part I of the drama.

2. What gives rise to the contention as to Shakespeare's sole authorship of this play?

3. The influence or the joint work of what other writers is apparent in this play particularly?

4. What are some main evidences either of collaboration; of later revisals of an original text (his own or another's); or merely of manifestation of Shakespeare's period of pupilage as compared with his maturer works?

5. What is Shakespeare's attitude towards Henry VI as developed in the portrayal of his character throughout the play?

6. Was the Bishop of Winchester's policy a disinterested or a selfish one? Who was his powerful friend?

7. In what particulars does Shakespeare's conception of Joan of Arc offend most critics? In what respects is it in keeping with the observation of such phenomena of religious enthusiasm as she represents? What are its fine points?

8. How does Shakespeare show the character of Talbot? What passage in Act II somewhat humorously sets forth the wide terror his name provoked? What other passages?

9. Is Sir John Fastolfe accredited in history with being so great a coward as he is accused of being in the play?


10. Does Talbot seem to carry special force as a type of the honest English feeling?

11. Note in what passages of feeling the flow of verse becomes, as it were, spontaneously rhapsodic. Is this the case in similar passages in all Shakespeare's blank verse? Has it special kinship with any characteristics of Marlowe?


12. In what way is the colloquy at the funeral of Henry V dramatically significant?

13. To what general presage in the dramatic development does the threat of the Bishop of Winchester appertain?

14. To what old notion does line 27, scene i, refer? By what political situation is it called up?

15. What custom of scene setting probably suggested the figure used by Bedford in the opening line?

16. How was Henry Beaufort related officially and by birth to the political situation?

17. Why did the death of Henry V release Winchester for the pursuit of his personal ambitions?

18. To what attitude of Winchester in the relation to the two successive kings does Gloucester refer in scene i, lines 33-36?

19. What is the significant dramatic force of Bedford's utterances in scene i, lines 48–51, and his following invocation to Henry V, lines 52-56?

20. What condition is set forth as the root of England's dangerous weakness in the political situation between herself and France in scene i, lines 69-81, and also in Reignier's comments, scene ii, line 17?

21. What is the first impression of La Pucelle from a point of dramatic characterization?

22. Is it evident that Shakespeare intends the Dauphin to seem personally enamored of Joan in addition to admiring her valorous intent?

23. What is shown of the ambitions and characters of

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