Melancholia, mental illness, and dream visions—rather than supernatural forces—are the key to understanding the famous summoning scene in Henry VI, Part I in which Joan la Pucelle (Joan of Arc) appears to summon demonic spirits in the wake of the French army’s catastrophic defeat. In contrast to traditional interpretations of this scene, which read Joan la Pucelle as a practitioner of witchcraft, I argue that understanding the summoning scene depends on identifying Joan as a melancholic figure, rather than as a witch and a villain. I explain that Shakespeare’s contemporaries, such as Thomas Hill, the author of The moste pleasante arte of the interpretacion of dreames, along with Elizabethan audiences would have had no difficulty recognizing the spirits Joan “summons” as hallucinations and evidence of profound disturbance in the mental faculties. Hill promotes the belief that the domination of the melancholy humor results in visions of spirits and dream-like trance states. Approaching Joan’s visions as the fruit of melancholy reveals something important not only about this character but also about the world she lives in—the play world of Shakespeare’s First Tetralogy. This chapter recognizes that the seemingly supernatural elements of this scene signified to Elizabethan audiences a manifestation of human mental disturbances in a harsh world in which there exist mental disorders and unbalanced humors, but no divine plan.