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IN Troy there lies the scene. From isles of Greece
The princes' orgillous, their high blood chaf'd,
The princes orgillous,] Orgillous, i. e. proud, disdainful.. Orgueilleux, Fr. STEEVENS.
Priam's fix-gated city,
Stir up the sons of Troy. This has been a most miferably mangled paffage through all the editions ; corrupted at once into false concord and false reasoning. Priam's fixgared city stirre up the fons of Troy ?-Here's a verb plaral. governed of a nominative fangular. But that is cafily remedied. The next question to be asked is, In what sense a city, having fix strong gates, and those well barred and bolted, can be faid to flir up its inhabitants ? unless they may be supposed to derive some spirit from the strength of their fortinications. But this could not be the poet's thought. He must mean, I take it, that the Greeks had pitched their tents upon the plains before Troy; and that the Trojans were securely barricaded within the walls and gates of their city. This fenic my correétion
And corresponsive and fulfilling bolts,
yestores. To sperre, or Spar, from the old Teutonic word
Lond. empr. by R. Pynson, 1513, Fol. b. ii. ch. 11, The Troye Boke was somewhat modernized, and reduced into regular ftanzas, about the beginning of the last century, under the name of, The Life and Death of Hector—who fought a Hundred mayne Battailes in open Field against the Grecians ; wherein there were faire on both sides Fourteene Hundred and Sixe Thousand, Fourscore and Sixe Men. Fol. no date. This work Dr. Fuller, and several other criticks, have erroneously quoted as the original; and observe in consequence, that “ if Chaucer's coin were of greater weight for deeper *** learning, Lydgate's were of a more refined standard for “ purer language: so that one might mistake him for a modern 66 writer." FARMER.
On other occasions, in the course of this play, I shall insert my quotations from the Troye Boke modernized, as being the möft intelligible of the two. STEEVENS.
2 A prologue arm’d;--] I come here to speak the prologue, and come in armour; not defying the audience, in confidence of either the author's or actor's abilities, but merely in a character suited to the subject, in a dress of war, before a warlike play. JOHNSCH.