The coincidence (not observed by M. Janet) with Jeanne's earliest experience is most curious. Audivit vocem a dextero latere. . . . claritas est ab eodem latere in quo vox auditur, sed ibi communiter est magna claritas. (She heard a voice from the right. There is usually a bright light on the same side as the voice.) Like Madame B., Jeanne was at first alarmed by these sensations.

The parallel, so far, is perfectly complete (except that 'Leonore' merely talks common sense, while Jeanne's voices gave information not normally acquired). But in Jeanne's case I have found no hint of temporary unconsciousness or 'dissociation.' When strung up to the most intense mental eagerness in court, she still heard her voices, though, because of the tumult of the assembly, she heard them indistinctly. Thus her experiences are not associated with insanity, partial unconsciousness, or any physical disturbance (as in some tales of second sight), while the sagacity of the communications and their veracity distinguish them from the hallucinations of mad people. As far as the affair of Rouvray, the prophecy of the instant death of an insolent soldier at Chinon (evidence of Pasquerel, her confessor), and such things go, we have, of course, many alleged parallels in the predictions of Mr. Peden and other seers of the Covenant. But Mr. Peden's political predictions are still unfulfilled, whereas concerning the 'dear gage' which the English should lose in France within seven years, Jeanne may be called successful.

On the whole, if we explain Jeanne's experiences as the expressions of her higher self (as Leonore is Madame B.'s higher self), we are compelled to ask what is the nature of that self?

Another parallel, on a low level, to what may be called the mechanism of Jeanne's voices and visions is found in Professor Flournoy's patient, 'Helene Smith.'* Miss 'Smith,' a hardworking shopwoman in Geneva, had, as a child, been dull but dreamy. At about twelve years of age she began to see, and hear, a visionary being named Leopold, who, in life, had been Cagliostro. His appearance was probably suggested by an illustration in the Joseph Balsamo of Alexandre Dumas. The saints of Jeanne, in the same way, may have been suggested by works of sacred art in statues and church windows. To Miss Smith, Leopold played the part of Jeanne's saints.

He appeared and warned her not to take such or such a street when walking, not to try to lift a parcel which seemed light, but was very heavy, and in other ways displayed knowledge not present to her ordinary workaday self.

*See Flournoy, Des Indes a la Planete Mars. Alcan, Paris, 1900.

There was no real Leopold, and Jeanne's St. Catherine cannot be shown to have ever been a real historical personage.* These figures, in fact, are more or less akin to the 'invisible playmates' familiar to many children.** They are not objective personalities, but part of the mechanism of a certain class of mind. The mind may be that of a person devoid of genius, like Miss Smith, or of a genius like Goethe, Shelley, or Jeanne d'Arc, or Socrates with his 'Daemon,' and its warnings. In the case of Jeanne d'Arc, as of Socrates, the mind communicated knowledge not in the conscious everyday intelligence of the Athenian or of la Pucelle. This information, in Jeanne's case, was presented in the shape of hallucinations of eye and ear. It was sane, wise, noble, veracious, and concerned not with trifles, but with great affairs. We are not encouraged to suppose that saints or angels made themselves audible and visible. But, by the mechanism of such appearances to the senses, that which was divine in the Maid--in all of us, if we follow St. Paul--that 'in which we live and move and have our being,' made itself intelligible to her ordinary consciousness, her workaday self, and led her to the fulfilment of a task which seemed impossible to men.

*See the Life and Martyrdom of St. Katherine of Alexandria.

(Roxburghe Club, 1884, Introduction by Mr. Charles Hardwick). Also the writer's translation of the chapel record of the 'Miracles of Madame St. Catherine of Fierbois,' in the Introduction. (London, Nutt.)

**See the writer's preface to Miss Corbet's Animal Land for a singular example in our own time.