Considering the need of rapid action on the Shakespearean stage, and its limited spectacular resources, it is obvious that actual warfare could be indicated only in a series of personal episodes, confining the visible symbols to a Homeric or at least a frankly medieval pattern. One might think, as far as the text went, that battles were decided by single combats; and probably those who begin to read Shakespeare young enough do think so. In ‘Henry V.’ we are told nothing of the military dispositions preceding the battle of Agincourt but the bare fact that a small and wearied English army was opposed by a larger and over-confident French one, and there is not one word about the English archery.[3] There is proof, however, though not too much, that Shakespeare had some notion of the offices of higher command in war, and could describe an episode of minor tactics not seen on the stage in a perfectly clear way. Yet it is noticeable that these proofs are not found in the historical plays. For the recognition of military science we have to go to the satirical romantic drama of ‘Troilus and Cressida,’ and for the business-like anecdote to the very late legendary play of ‘Cymbeline,’ which, for whatever reason, seems to pay less regard to stage effect than any other work of Shakespeare’s. In the first act of ‘Troilus and Cressida’ the Greek chieftains, who conform only in the roughest way to their traditional characters, and quote Aristotle as if on purpose to show that the action has no relation even to accepted legend,[4] are discussing the state of affairs before Troy. Ulysses speaks of the discontented Ajax and his followers:— ‘They tax our policy and call it cowardice, Count wisdom as no member of the war, Forestall prescience and esteem no act But that of hand: the still and mental parts That do contrive how many hands shall strike When fitness calls them on, and know by measure Of their observant toil the enemies’ weight— Why, this hath not a finger’s dignity: They call this bed-work, mappery, closet-war; So that the ram that batters down the wall, For the great swing and rudeness of his poise, They place before his hand that made the engine, Or those that with the fineness of their souls By reason guide his execution.’