It is none the less interesting to learn from him that he merely treated his subject as an occasion for glorifying the Bastard of Orleans.

He expressly says in his preface: "I did not so much regard her (the Maid) as the chief character of the poem, who, strictly speaking, is the Comte de Dunois." Chapelain was in the pay of the Duc de Longueville, a descendant of Dunois.[115] It is of Dunois that he sings; "the illustrious shepherdess" contributes the marvellous element to his poem, and, according to the good man's own expression, furnishes _les machines necessaires_ for an epic.

Saint Catherine and Saint Margaret are too commonplace to be included among _ces machines_.

Chapelain tells us that he took particular care so to arrange his poem that "everything which happens in it by divine favour might be believed to have taken place through human agency carried to the highest degree to which nature is capable of ascending." Herein we discern the dawn of the modern spirit.
[Footnote 115: Jean Chapelain, _La Pucelle ou la France delivree_, Paris, 1656, in fol.] Bossuet also is careful not to mention Saint Catherine and Saint Margaret.

The four or five quarto pages which he devotes to Jeanne d'Arc in his "Abrege de l'Histoire de France pour l'instruction du Dauphin"[116] are very interesting, not for his statement of facts, which is confused and inexact,[117] but for the care the author takes to represent the miraculous deeds attributed to Jeanne in an incidental and dubious manner.