BOOK 2: FOOTNOTES
1 With openings to the outside for [thwarting] assaults or probes
2 Of velvet, sendal (thin, rich silken material), and double fine silken cloth also
3 Carved all along their length with embossed ornaments [were]
BOOK 2: NOTES
1 Fortunas. MS: fortunat. Torti, p. 184n, remarks that the description of Fortune's mutability forecasts the attitude toward women in Guido and Lydgate. Finlayson, p. 150, sees the passage indebted to the description of Fortune in Chaucer's The Book of the Duchess.
3 wil. Bergen reads will.
134 thei. MS: ye.
141 that. Bergen emends to the.
142 Antropos. Atropos. One of the three daughters of Night, later identified as the three Fates. Atropos is the Fate who cuts the thread of a person's life; compare 2.880, 2.2290, 2.4695.
168 Echoes Chaucer's "The Complaint of Venus": "Syth rym in Englissh hath such skarsete" (line 80). Boffey, p. 31, notes that the line reappears in Lydgate's Fall of Princes (9.3312).
173 Accepting Bergen's emendation of a plausible, if less likely, reading in MS: To schewe his stile in my transmutacioun. MED cites no instances of transmutacioun used in a sense appropriate to the passage. Lydgate uses the term in the normal sense at 1.58; compare 4.7062.
178 cam. Bergen emends to com.
180 Lydgate follows the convention, defined by Cicero and St. Jerome, of translating meaning by meaning rather than word for word.
192-97 See the supposed rejection of rhetorical figures by Chaucer's Franklin (V.716-27). Lydgate repeats the allusion below at 3.551-56 and Env.100- 01.
198 in. Accepting Bergen's addition for meter.
200 anon I wil. Accepting MS reading over Bergen's I wil anon.
288 Hector the secounde. Lydgate echoes Pandarus (Troilus and Criseyde 2.158).
481 callyd. Norton-Smith emends to ycallyd based on Digby 232 and Digby 230 to avoid a Lydgate line.
493 Or. MS: Of.
511 As Bergen notes, the phrase "with countenaunces glade" applies to the images and not the workmen; see 2.610.
515 Appollo. The reference should be to the craftsman Appelles who is mentioned in Walter of Chatillon's Alexandreis 7.383-84 (Norton-Smith, p. 133); Bergen suggests that Lydgate borrowed the passage from the Wife of Bath's recollection of her fourth husband's tomb (III.495-500).
523 joignour. Trisyllabic.
528 Of. MS: Or.
533 wer. Bergen emends to were.
534 aboute. Bergen emends to abouten.
542 that. Accepting Bergen's addition.
545 defoulit. Bergen emends to defouled.
552 Lydgate echoes the asseveration of Chaucer's Franklin in the Canterbury Tales: "I ne kan no termes of astrologye" (V.1266).
559 in. MS: on; see 4.2739.
560 For. Bergen amends to But.
564 this. Bergen emends to his.
569 aforn. Bergen emends to toforn, but see 2.3585 and 2.3703 for similar usage.
599 peerles. Trisyllabic. Bergen emends to peereles.
602 Tymbria. The second gate of Troy according to Guido (Book 5), the fifth in Benoît (line 3152). It is mentioned again at 3.5611.
614 tour. MS: tourn.
616 on. MS: up on.
618 serpentys. Bergen reads serpentis.
628 And. MS: A.
629 non. Bergen emends to noon. The sense of the clause is that anyone contemplating an attack would be dissuaded by the iron grating that hangs down over the gates.
634 barrerys. MS: barreys.
639 paleys. MS: hous.
640 thorughout. MS: thorugh.
654 babewynes. MS: bakewynes.
655 koynyng. MS: kaxenyng. Norton-Smith emends to copurnyng from Digby 232 (kopurnynge) and Digby 230 (copurnynges), but the emendation is hypermetric.
656 Vynettis. Bergen reads Vynnettis.
668 the. Bergen emends to this.
672 morwe. MS: the morwe.
681-82 Here and elsewhere (e.g., 2.669) Lydgate uses the language applied earlier to the conduct of statecraft to suggest the resemblance between practical wisdom in political affairs and the rational construction of New Troy according to an informing plan. At the end of Book 2, Agamemnon's care in arranging his camp will furnish a small echo of Priam's design. Guido emphasizes the skill of the mechanical arts in Troy, while Lydgate stresses the intellectual power of design. Geoffrey of Vinsauf's Poetria Nova, in a passage that Chaucer parodies in Troilus and Criseyde (1.1065-69), compared the invention of a poem to the architect's plan for his building.
689 reclinatories. Bergen speculates that these may be couches with canopies over them. Norton-Smith glosses it as "a covered place provided with a half-seat" and treats it as Lydgate's coinage.
695 cured was. The grammatical construction is parallel with raught (line 698) and paved (line 701).
710 hymsilfe. MS: hem silfe.
720 square grounde. Bergen emends to ygrounde, but see 2.2561. MED defines square (adj. 2a) as "ground or whet at a cutting angle or to a point."
722 Bowyers. MS: Bowers.
fast. Bergen emends to faste.
725 also. Bergen indicates MS reading is his emendation.
737 that. Bergen emends to this.
769 enabite. Bergen emends to enhabite.
777 many. Bergen emends to any.
784 to. Accepting Bergen's addition.
788-926 The account of Priam's steps to "magnyfye" his new city and increase its renown provides a good example of the poet's skill at amplificatio. Lydgate describes the civil activites of Priam's reinvention of a healthy society after the fall of Lamedon's Troy. He adds tournaments, jousts, and tilting to the "diuersa genera" of games that Guido mentions vaguely (Book 5), and he significantly expands the discussion of chess. His greatest addition is in the description of theatre. He not only defines genre but gives details of production, such as staging and sets (a "theatre schrowdid in a tent," line 900); masks ("viseris") used for disguise (lines 901-02); the signs and formulaic expressions used to convey joy, heaviness, trust, gladness, and mixtures of emotions, always "from point to point" (line 910), answering to the requirements of the play; the place of music and rhetoric in the plays; and the controlling themes (e.g. the fall-of-prince topos, or the Boethian themes of fate and fortune). Priam's "fantasye" provides a glimpse of the idealized social and ideological geography of fifteenth-century urban life. Meek (p. 286n) suggests that Guido misread Benoît's claim that Troy's inhabitants could find all these pleasures in the city (trovassent, line 3182).
790 observaunce. MS: observaunces.
802 other. MS: ther.
806-23 Persian, Indian, and Arabic texts refer to chess as early as the fifth century, but no unambiguous references appear before the seventh century. The game was popular by the tenth century, and entered the west by way of Spain in the tenth or eleventh century. European literary and documentary references date from around the year 1000. A short poem describing the game (Versus de scachis) survives in manuscripts from the 990s. In the eleventh and twelfth centuries the game was popular in both courtly and monastic milieux. Petrus Alfonsi's Disciplina clericalis (c. 1100) lists chess as one of the seven knightly accomplishments, and the game is frequently mentioned in chivalric romances. Lydgate champions Guido's claim that chess was first invented in Troy. He incorrectly ascribes a competing claim to Jacques de Vitry. Marquardt points out that Jacobus de Cessolis's De ludo scaccorum (c. 1280) is the source for claiming that Philometer is the inventor.
812 juparties. MS: imparties.
830 be sodeyn variaunce. Bergen emends to with sodeyn variaunce.
833 plounged. MS: plaunged.
835 Against Bergen, I punctuate with a full stop here because the line is the kind of summative statement that often ends Lydgate's longer sentences.
836-38 The passage needs to be taken in the sense that if one person succeeds in various games of chance, another person necessarily loses.
Adevaunte. Bergen suggests the possibility of separating A from devaunt (the name of a game of chance) and assigning it the value of the preposition in. Hasord and passage are, like devaunt, games played with dice.
837 suffereth. MS: sufferey.
842-59 The generic descriptions of comedy and tragedy are commonplaces. See, for example, Dante's Letter to Can Grande della Scala and the Prologue to Chaucer's The Monk's Tale (VII.1971-81).
861 Against Bergen, I punctuate with a full stop here because line 862 begins another independent clause.
864-69 In the medieval conception of classical drama, the poet recited his work while the action was mimed below him; see Isidore of Seville, Etymologiae 18.44 and 18.49.
867 awncien. MS: awcien.
875 by old date. Accepting Bergen's emendation for MS: by date.
876 See note to Prologue line 51.
878 gan. "The poet" is the understood subject of the sentence; see line 896. Lydgate speaks of a poet reciting but his image is of writing.
886 highe. Bergen emends to in highe. distresse. Bergen emends to tristesse.
887 and. Bergen emends to or for parallelism with the following two lines.
890 that. Accepting Bergen's addition.
902 Disfigurid her facis. The phrase is an absolute: the men's faces are disguised.
908 or. MS: and.
911 now light. Accepting Bergen's emendation for MS: light.
918 hay. MS: bay.
922 the. Bergen emends to these.
924 ryht of tragedies olde. The of is Bergen's addition.
927-1066 Lydgate's description of Priam's palace, like that of the city earlier (2.489-768), expands and changes the basic details in Guido (Book 5). These lines offer a tour de force in Utopian city planning, from the geometry of the layout, where the city itself becomes a kind of theater in the round (lines 941-57), down to the wood used for specific architectural functions; where equitable housing is provided for rich and poor, and where we are privileged to glimpse the decor of interiors of houses as well as religious practices. No poet in English before Lydgate has been so attentive to this kind of detail, as he depicts the aspirations and exuberance of early fifteenth-century expansion.
931 werkes. MS: werkmen.
940 cast. Sense requires the phrase to be understood as was cast, "was laid out by compasses." I have treated lines 939-40 as a subordinate clause modifying Ilyoun; Bergen punctuates them as an appositive beginning the next sentence.
943 he most first. Bergen emends to first he moste.
944-48 Lydgate follows the common practice of approximating pi by using its upper limit (3 1/7). The practice derived from the third proposition of Archimedes's On the Measurement of the Circle, which the Middle Ages knew in several translations. Plato of Tivoli produced an incomplete translation from the Arabic between 1134 and 1145. Gerard of Cremona completed a better translation, again from the Arabic, in the third quarter of the twelfth century. William of Moerbeke, Latin archbishop of Corinth, made a translation from the Greek in 1269. William's translation was incorporated into Johannes de Muris's De arte mensurandi around 1343.
949-50 withinne the stronge wal . . . pleynly eke with al. Bergen emends by transposing these phrases.
955 reysed. MS: reysen.
956 unto. Bergen emends to to.
961 stond rounde. MS: stond rounde rounde. Bergen emends to stoode rounde.
969 fenestral. Bergen emends to eche fenestral.
991 his. Bergen emends to this.
1006 was set a dormont. Bergen emends to was a dormant.
1012 Right as any. Bergen emends to Right as.
opposyt. MS: apposyt.
1014 riche. Bergen reads rich.
1022 With. MS: Withoute.
1023 of. MS: of of.
1034 and of. Bergen emends to of but is willing to accept MS reading as equally good.
1037 excellence. MS: excenlence.
1050 felicité. MS: ffelicite.
1061 his. Bergen emends to this.
1797-1902 Lydgate apostrophizes Priam as an imprudent ruler. He builds on Guido's suggestion (Book 6) that Boethian ideas about fortune and chance lead to Priam's renewing the war, but he relocates these ideas from the external world to the individual. His sentiment is akin to Gower's, who locates all disasters within the choices of individuals. See Ebin (1985), pp. 41-44.
1798 new. Bergen emends to newe.
1807 savour. MS: more savour.
1816 to. Accepting Bergen's addition.
1831 chance. Bergen reads chaunce.
1847 Adverting. MS: Adverte.
1851 surly. MS: only.
1853 if. MS: it.
1857 rekles. Bergen emends to rekeles.
1865 royal. MS: rayal.
1883 this. MS: his.
1892 which in. MS: with.
2184 to. Accepting Bergen's addition.
2197-2209 Hector argues for distributive rather than rectificatory justice. As Aristotle explains in Book 5 of the Nicomachean Ethics, distributive justice remedies discrepancies between persons of unequal worth by a geometrical progression, while rectificatory justice works among equals by an arithmetic progression. Thus an injury done a great person is greater in magnitude than one done a person of lesser social stature. Lydgate is expanding on a theme in Guido (Book 6).
2210 gretly. Accepting Bergen's addition.
2216 instynt. MS: instymt.
2246 causeth. MS: caused.
2264 lak. MS: lat.
2268 many. MS: many other.
2276 at. Bergen emends to in. The MS reading accords with Chaucer's usage in the Canterbury Tales (II.504, II.658, VII.1300) and Troilus and Criseyde (4.1106, 4.1532).
2292 and sorow. Bergen emends to sorow.
2297 hold. MS: held.
2298 cowarddyse. Bergen reads cowardyse.
2321 Of. MS: To.
2355 unto. Bergen emends to to.
2358 Unto the whiche. Bergen emends to Unto whiche.
2364 yeve. MS: gif.
credence. MS: credendence (corrected to credence).
2365 nat. Bergen emends to not.
2373 cherité. MS: cherte.
2375 upon. MS: on.
2387 Pirrous. MS: Pirous.
2393 Then out I roos. MS: Out I roos. Bergen emends to Up I roos out.
2424 severyd. MS: severy.
2427 thinne. Bergen emends to thorugh thinne.
2434 so fer. MS: fer.
2435 that I. Accepting Bergen's addition to MS: I.
2440 upon. MS: on.
2448 he. Following the MS reading and taking the pronoun to refer to the horse that reaches a pleasant dell; Bergen emends to I, so that Paris is the grammatical subject.
2450 yonge. MS: soft.
2451 alight. MS: light.
2464 aslepe. Bergen emends to asleped.
2465 wonder swevene. Lydgate renders Guido's "mirabilem visionem" in a way that recalls the phrasing Chaucer gives to dreams in his dream visions; see "Me mette so ynly swete a sweven, / So wonderful" (The Book of the Duchess, lines 276-77).
2469 first somdel. Bergen emends to somdel first.
2482 ravasched. Bergen emends to ravisched.
2486-2516 Fulgence. The sixth-century mythographer Fabius Planciades Fulgentius, author of commentaries on the allegories supposedly contained in the pagan myths (Mythologiae) and in Vergil (Vergiliana continentia). Fulgentius is an important, though sometimes discredited, source for medieval and Renaissance writers, including Boccaccio (see Genealogie deorum gentilium 4.24 and 11.7). The mythological interpretations are largely Lydgate's addition. Fulgentius is sometimes confused with Saint Fulgentius, Bishop of Ruspe (d. 532 or 533). Lydgate's iconographical details for Mercury do not appear in the corresponding passages of Benoît and Guido. The details of the rod, the snakes, and the cock are in Fulgentius's Mythologiae; but Lydgate purges Fulgentius's association of Mercury with the mendacity of commerce, making him instead into an allegory of the more aristocratic virtues of good governance and prudence. Vatican Mythographer 2 defines Mercury as "deus prudentie et rationis" (ch. 83) and "deus prudentie" (ch. 124). Lydgate also supplements the iconography of Fulgentius with the pipes of rhetoric and eloquence, and the sword. His likely source here is the story of the slaying of Argos told in Ovid's Metamorphoses 1.668-721, in which Mercury puts Argos to sleep with his pipes and then cuts off his head with a sword.
2490 to take the moralité. See the admonition at the end of The Nun's Priest's Tale: "Taketh the fruyt, and lat the chaf be stille" (VII.3443).
2508 forget. Bergen emends to forged.
ymade. MS: made. veyn. Bergen reads weyn.
2519-20 Cithera . . . Juno, and Pallas. The three goddesses (Venus, Juno, and Athena) whose beauty contest, judged by Paris, was one of the favorite stories in literature and art throughout the Middle Ages. The Judgment of Paris is often treated in art as the cause of the Trojan War.
2521 this. MS: thus.
2522 dowes white. Doves are a standard feature of Venus's iconography. They also figure prominently in the Song of Songs, which links them to innocence as well as passion. See Roman de la Rose, lines 15755-56 on the doves that accompany Venus. Morgan MS 132 fol. 117v has a drawing of Venus's chariot being drawn by six white doves as she sets out to assail chastity. The image is reprinted in Harry Robbins, trans., The Romance of the Rose (New York: E. P. Dutton & Co., 1962), p. 336.
2525 schortly. Bergen emends to sothly.
2526 dowes verray innocence. The innocence represented by the doves is identified with the turtle dove in Chaucer's The Parliament of Fowls, who blushes at the very thought of infidelity, or in the illusions of lecherous old lovers like January in Chaucer's The Merchant's Tale, or younger lechers like Absolon, in The Miller's Tale, who dramatize the innocence, piety, and purity of their lechery by quoting from the Song of Songs. In the Roman de la Rose, Guillaume de Lorris allegorizes this component of love as Simpleice, the second arrow to wound the lover's heart (lines 1734-45).
2531 fairnes of the roses rede. The rose is regularly affiliated with female desirablity, as in the lover's quest in the Roman de la Rose. It, more than any other, is the love flower. Bergen emends fairnes to fresshnesse.
2548 ay with. MS: with many.
2549 ff. Pallas I behelde. Lydgate is meticulous in giving to Athena all her traditional iconography - the spear, the olive tree, and the owl.
2555 his. MS: hir.
2577 chaunging. MS: chaungith.
2578 pley. Bergen reads play.
2581 Fulgense. MS: Fulgens.
2596 ther. MS: the.
2598 Fortune the fresche fetheris pulle. Compare Chaucer's Troilus and Criseyde 5.1541-47.
2602 oft. Bergen emends to ofte.
2619 attonys. Bergen emends to al attonys, but see 2.4415: "And attonys done oure besynes."
2628 an. MS: in.
2642 Discord. Bergen observes that Discord is not mentioned by Guido.
2658 deyvious. Bergen reads deynious, which is equally plausible.
2670 for. Bergen emends to of.
2687 onymentis. Bergen emends to oynementis.
2692 for. Accepting Bergen's addition.
2695 liche as bit Ovide. Ovid's Medicamina faciei; see Ars amatoria 3.193-228.
2708 fro. MS: therfro.
2738 unto. MS: to.
2744 stare. MS: to stare.
2749 fully. MS: ful.
2760-65 Paris's inspection of the beauty of the goddesses' bodies emphasizes the elements of joining and order that appear in the earlier description of the building of New Troy, albeit now in an erotic vein.
2765 jugen. MS: given.
2769 in. Bergen emends to of.
2772 Stremys are "the rays sent out from the eye to the object seen" (MED).
2789 without. Bergen emends to withoute.
2793 love and drede. See Chaucer's description of the feelings that the people have for Walter - "Biloved and drad" - in The Clerk's Tale (IV.69).
2797 Bergen ends the sentence here, without a main clause. I punctuate it so that Yif ye adverte (line 2794) is completed by I rede (line 2798).
2800 abood. MS: abote.
3448 As. Bergen emends to And.
3470 taketh. Bergen emends to took, but see the combination of the preterite and historical present immediately below at 2.3476-77: "He spendeth ther, liche to his degré, / And quit hym manly in his oblaciouns."
right. Bergen emends to righte.
3477 oblaciouns. MS: oblacioun.
3518-24 The report of Paris recalls the effect of rumor in the Piramus and Thisbe story; see Chaucer's The Legend of Good Women, lines 719-20: "The name of everych gan to other sprynge / By women that were neighebores aboute."
3527 pylgrymage. Bergen reads pilgrymage.
3531-51 For the possibilities of unlicensed behavior and erotic encounters, see the example of Chaucer's Wife of Bath who uses "pleyes of myracles" (III.558) as one occasion among many for entertainment and the company of "lusty folk." The signals described in the passage are Ovidian.
3545 or. MS: of.
3547 stole. Accepting Bergen's addition.
3575-3661 Lydgate significantly expands Guido's apostrophe in Book 7.
3594 unto. MS: to.
3600 out of mwe. See Troilus and Criseyde 1.381: "First to hiden his desir in muwe," where Chaucer describes Troilus's effort to hide his love. See also 2.3701-02.
3602 as hare among houndis. The proverb usually expresses fright rather than carelessness. It is so used by Chaucer in The Shipman's Tale (VII.103-05) and Boece (3m12.12) and by Gower (Confessio Amantis Pro.1061). Bergen emends to the houndis.
3624 nadde. MS: nat.
wikke. MS: wikked.
3630 on Troye. MS: Troye.
3636 Made. "She" is the understood subject.
3646 nist. Bergen emends to niste.
3649 wende. Bergen emends to ne wende.
3654 be. MS: have ben.
3659 considereth. I take this verb as syntatically parallel with thought; Bergen begins a new sentence and requires "he" as the understood subject.
3672 Lydgate's phrasing recalls Chaucer's portrait of Criseyde in Book 5: "Paradis stood formed in hire yën" (Troilus and Criseyde 5.817).
3680 want. Bergen emends to wante.
3701-02 In adapting Guido, Lydgate ascribes to Helen the dissembling that Chaucer makes a feature of Troilus's response to first seeing Criseyde (Troilus and Criseyde 1.278-80).
3702 no. MS: that no.
3705 plesance. Bergen reads plesaunce.
3718 eyen. Bergen emends to eye.
3745 fyré. Bergen emends to fyry; see Pro.11 and 4.3155.
4344 lightly. Bergen emends to slighly.
dissymble. MS: dissymuble. Lydgate returns to this problematic notion of prudence as dissembling when Priam later rebukes his men for attacking Diomede (2.7020) when Ulysses and Diomede come to Troy as ambassadors in the last diplomatic effort before the war begins.
4354 kyndle. MS: kyndly. Bergen emends the line to read That he of vengaunce kyndle may the fer.
4366 good. MS: glad.
glad. MS: good.
the. MS: thou. Accepting Bergen's transposition of good and glad for sense. Menelaus may be either good or glad in appearance, but he is advised to feign glad behavior in public.
4368 woldest. MS: wost.
4369 grevaunce. Bergen reads grevance.
4388 of oure hevy. Bergen emends to oure hevy.
4402 undirstonde. MS: to undirstonde.
4405 happe. MS: hap. Bergen emends to or hap, which then must be governed by What that and be taken as grammatically parallel to befalle; the phrase is, however, merely parenthetical: "come what may."
4427 th'effect. MS: the theffect.
4697 Galfride. Geoffrey of Vinsauf, whose Poetria Nova (c. 1210) became a standard school text for rhetoric even into the fifteenth century. Chaucer often cites Geoffrey, and quite playfully in The Nun's Priest's Tale, VII.3347, where the teller defers to his formulae as he attempts to explain the hubbub caused by Chaunticleer's ill-fate with the fox.
4704 The phrasing echoes Chaucer's mock deference to courtly lovers who compose ("make") as amateur poets: "[I] am ful glad yf I may fynde an ere / Of any goodly word that ye han left" (The Legend of Good Women F 76-77).
4711 ethe to knowe. Bergen emends to ethe knowe but notes MS reading.
4717 Tempere. Bergen reads Tempre.
oure. Bergen reads our.
vermyloun. Bergen proposes to read as four syllables - vermilioun.
4719 folweth. MS: forweth.
4731 Baiard. The proverbially proud horse; see Chaucer's Troilus and Criseyde 1.218 and The Canon's Yeoman's Tale (VIII.1413). Lydgate uses the figure again at 5.3506.
4732 wey. Bergen emends to weye.
4733 on hede. Bergen emends to of hede.
4736-62 Atwood (pp. 40-41) and Pearsall (1990), p. 41; (1970), pp. 55-58, note that Lydgate's portrait incorporates a number of details from Chaucer's portrait of Criseyde (Troilus and Criseyde 5.806-26).
4739 Bergen wrongly indicates that be must be added.
4740 to lowe. Bergen emends to lowe.
4747 were. MS: where.
4748 And. Accepting Bergen's addition.
4752 ne. Accepting Bergen's addition.
4761 unstedfastnes. MS: unstefastnes.
4861-65 The verbal portrait of Troilus derives from Chaucer's Troilus and Criseyde 5.827-40.
4863 to. MS: for to.
4864 of. Bergen emends to on. See Troilus and Criseyde 5.827 for description.
4865 See Chaucer's Troilus and Criseyde 5.830.
4887 Grekis. Bergen emends to the Grekis.
4888 help. Bergen emends to shelde.
6539 is ther. Bergen emends to ther is.
6553 or. Accepting Bergen's emendation of MS: and; see same phrase above at 2.6548.
6563 eke in. Bergen emends to in.
6600 namly. MS: manly.
6635 broght. Bergen reads brought.
6638 decut. Following Bergen who restores decut (from Latin decoquo), with the sense of "to ripen, digest in the mind by thinking over."
6640-61 Lydgate, amplifying Guido, introduces a Christian notion of choice into the evolving pattern of deterministic tragic action. Agamemnon concedes that the Greeks could have restored Hesione and so forestalled the events set in motion by Paris's sack of Cythera and his abduction of Helen. At the same time, however, he prepares to send the Trojans demands for recompense that they cannot accept.
6677 to falle. Bergen emends to for to falle.
6682 for. Accepting Bergen's addition.
8706 boke. Accepting Bergen's addition.