Troilus and Criseyde

by Geoffrey Chaucer

Book Overview

Chaucer's longest complete poem is the supreme evocation of doomed courtly love in medieval English literature. Set during the tenth year of the siege of Troy, the poem relates how Troilus - with the help of Criseyde's wily uncle Pandarus - persuades her to become his lover, only to be betrayed when she is handed over to the Greek camp and yields to Diomede.

• Format: Paperback
• Language: English
• ISBN: 0140442391
• ISBN13: 9780140442397
• Release Date: April 1971
• Publisher: Penguin Group
• Length: 368 Pages
• Weight: 0.56 lbs.
• Dimensions: 0.7" x 5.1" x 7.7"
• Age Range: 18 years and up
• Grade Range: Postsecondary and higher

Customer Reviews

Cheap but not what I ordered

The edition advertised was not what I received, and I needed that specific one for class (since there were portions missing). It was cheap but I ended up having to pay a lot more somewhere else to get the correct version anyways. To be fair, this was the first time this has happened for me.

THE GO-BETWEEN

There surely can't be many tragic love stories more affecting and involving than this. Nor, it seems to me, can there be many that are more original, despite the conspicuous play the author makes of depending on ancient sources. The tale of Troilus and Cressida (Criseyde) derives ultimately from the Iliad through a multiplicity of mediaeval variations, cited in detail by the editor. It is original in the way Hamlet is original, in its depiction of characters and thought-processes, and it does not suffer from the comparison. There are four protagonists, and two are straightforward, contrasted with a wince-making clarity. Troilus himself, son of King Priam of Troy, is a mighty warrior but tongue-tied and shy when it comes to dealing with women, derisive to begin with at the agonies of those who fall in love and then falling hopelessly, suddenly and finally into the same trap himself. How often have we all seen just that happen within our own acquaintance? Diomede, sent to escort Cressida from Troy to the Greek camp as part of a prisoner-exchange, is uninhibited in that respect to the point of outright crassness, with an eye for an opportunity and an easy `nothing venture nothing gain' attitude that I would again guess most of us will recognise without much difficulty. The other two are anything but simple. Chaucer stays deliberately vague regarding Cressida's relationship with Diomede (characteristically hiding behind his sources - he was anything but straightforward himself), and what if anything remains of her love of Troilus. However it seems to me that there was a calculating bit in her decision to give herself to Troilus in the first place. She could make herself fall in love, and her fascinating speeches with the twists and turns of their thinking say to me that she was no innocent, quite unlike her infatuated wooer. That leaves Pandarus, a creation to rival Iago in a different way. Again, it's left to us to decide what prompted such extraordinary vicarious commitment to bringing the pair together. There may or may not be hints that his motivation was not altruistic, but hints are the most they can be. It is not just a matter of his strange motivation but also of his extraordinary mental agility and speed of reaction. He plots the lovers' tryst in fantastic detail, when the fateful prisoner-exchange is decreed he tries to steer Troilus into a different outlook that in effect abandons the romance he has taken such incredible trouble to arrange, and to the very end he is still trying to manipulate the emotions of the devastated Troilus. It is all told in an easy and relaxed verse, typical Chaucer in being at the same time deadly serious and tongue-in-cheek. This verse is not as 'poetic' as, say, The Ancient Mariner. It stands in much the relationship to that, poetry-wise, as Hamlet does to Macbeth or Othello. This is a psychological drama, not an opportunity to display the special `tone of voice' and `way of saying things' that Housman thou

5 stars for the original text

Zero stars for "translations". If you enjoy Reader's Digest abridged books and the like then you might prefer a "translation" from English into English of Chaucer's epic. I read this for Chaucer's beautiful use of the English (well, okey, Middle English, but it's still English!) language. Modern writers are so superfluous! Now we write "Once you have come to possess something it is just as difficult to hold on to it as it was to get it in the first place", when once you could write, "As gret a craft is kep wel as wynne". How our language has deteriorated!

A marvelous translation and an excellent place to start.

CHAUCER : TROILUS AND CRISEYDE. Translated into Modern English by Nevill Coghill. 332 pp. New York : Viking Press, 1995 (Reissue). ISBN: 0140442391 (pbk.)Nevill Coghill's brilliant modern English translation of Chaucer's 'The Canterbury Tales' has always been a bestseller and it's easy to understand why. Chaucer was an intensely human writer and a great comic artist, but besides the ribaldry and sheer good fun of 'The Canterbury Tales,' we also know he was capable of other things. His range was wide, and the striking thing about Coghill's translations are how amazingly faithful they are to the spirit of the originals - at times bawdy and hilariously funny, at other times more serious and moving when Chaucer shifts to a more poignant mode as in 'Troilus and Criseyde.' But despite the brilliance of Coghill's translations, and despite the fact that they remain the best possible introduction to Chaucer for those who don't know Middle English, those who restrict themselves to Coghill are going to miss a lot - such readers are certainly going to get the stories, but they're going to lose much of the beauty those stories have in the original language. The difference is as great as that between a black-and-white movie and technicolor.Chaucer's Middle English _looks_ difficult to many, and I think I know why. It _looks_ difficult because that in fact is what people are doing, they are _looking_ at it, they are reading silently and trying to take it in through the eye. This is a recipe for instant frustration and failure. But fortunately there is a quick and easy remedy.So much of Chaucer's power is in the sheer music of his lines, and in their energy and thrust. He was writing when English was at its most masculine and vigorous. And his writings were intended, as was the common practice in the Middle Ages when silent reading was considered a freakish phenomenon, to be read aloud. Those new to Chaucer would therefore be well advised, after reading and enjoying Nevill Coghill's renderings, to learn how to read Middle English _aloud_ as soon as possible by listening to one of the many excellent recordings.Coghill certainly captures the spirit of Chaucer, but modern English cannot really convey the full flavor and intensity of the original. Learn how to roll a few of Chaucer's Middle English lines around on your tongue and you'll soon hear what I mean. You'll also find that it isn't nearly so difficult as it _looks_, and your pleasure in Chaucer will be magnified enormously.

Worthy of the annals of Priam!

As usual, Chaucer has come through as the greatest poet of Middle English. This is by far the best expansion on Homer's epic poetry to appear since Publius Vergilius Maro's Æneid, and I'm sure Augustus would have enjoyed it just as much! Shakespeare's adaptation, Troilus and Cressida, is an excellent play but does not give this poem justice. I would definitely recommend it to any serious fan of English literature!

Subtle tragedy of love (and life)

Chaucer's narrative mastery is more subtlely envidenced here than in the Canterbury Tales, but mastery it is. This poem is a wry but kindly perspective on the vigor and impetuosity of young love. The closest analogy is Shakespeare's Romeo and Juliet. A singular work. Well worth your time