Troilus and Criseyde, by Geoffrey Chaucer
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Troilus and Criseyde, by Geoffrey Chaucer
Best Ebook Troilus and Criseyde, by Geoffrey Chaucer
"[...] Knew wel that Troye sholde destroyed be, By answere of his god, that highte thus, Daun Phebus or Apollo Delphicus. 70 So whan this Calkas knew by calculinge, And eek by answere of this Appollo, That Grekes sholden swich a peple bringe, Thorugh which that Troye moste been for-do, He caste anoon out of the toun to go; 75 For wel wiste he, by sort, that Troye sholde Destroyed ben, ye, wolde who-so nolde. For which, for to departen softely Took purpos ful this forknowinge wyse, And to the Grekes ost ful prively 80 He stal anoon; and they, in curteys wyse,[...]".
Troilus and Criseyde, by Geoffrey Chaucer- Published on: 2015-03-04
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .67" w x 6.00" l, .75 pounds
- Binding: Paperback
- 294 pages
Review
“James Dean and Harriet Spiegel have produced an elegant edition of Chaucer’s masterpiece that will stand next to the Broadview Canterbury Tales as the most widely adapted classroom edition. It wears its considerable learning lightly and lets Chaucer’s poetry speak for itself, while still providing helpful notes and glosses to guide the reader. Spiegel is widely known as a translator of medieval literature and Dean is one of the most respected scholars and editors of his generation. Together they make a great team, and it shows on every page and every line of this edition. It will be on my syllabus, and I recommend it to everyone who teaches the Troilus.” ― John Ganim, University of California at Riverside
“Everything a reader of Troilus would want: generous glossing; a lucid review of critical history; excerpts from Boccaccio and Benoît de Sainte-Maure; and a full text and translation, prepared specifically for this edition, of Henryson’s Testament. And much more.” ― Sarah Stanbury, College of the Holy Cross
From the Back Cover
Geoffrey Chaucer’s most significant literary accomplishment may well be Troilus and Criseyde, a single, profoundly philosophical narrative of a tragic love affair. Set in ancient Troy and telling the story of the rise and fall, in love and war, of prince Troilus, Troilus and Criseyde is an archetypal medieval romance. The widowed Criseyde is a powerful woman, complex and intelligent, and the naïve Troilus is ambushed by his overwhelming love for her; Pandarus, Troilus’s friend and the enabler of the couple’s love, provides comic relief. Chaucer used his familiarity with the works of Giovanni Boccaccio and Benoît de Sainte-Maure to build his own historical world, depicting pagan beliefs and myths with sympathy and imagination.
This edition is based on the Corpus Christi College Cambridge manuscript of Troilus and Criseyde; the manuscript text is conservatively edited and the original Middle English text is used. Difficult words are conveniently glossed in the margins, and explanatory footnotes help with references and allusions.
About the Author Often referred to as the father of English poetry, Geoffrey Chaucer was a fourteenth-century philosopher, alchemist, astrologer, bureaucrat, diplomat, and author of many significant poems. Chaucer s writing was influential in English literary tradition, as it introduced new rhyming schemes and helped develop the vernacular traditionthe use of everyday Englishrather than the literary French and Latin, which were common in written works of the time. Chaucer s best-knownand most imitatedworks include The Canterbury Tales, Troilus and Criseyde, The Book of the Duchess, and The House of Fame.
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Most helpful customer reviews
37 of 37 people found the following review helpful. Reviews don't necessarily apply to the edition you are looking at By Wanda B. Red Amazon seems to be including all the reviews of different editions and translations of Chaucer's "Troilus and Criseyde" on the same page. If you read the reviews here you will be very confused. Some refer to an original language edition (either the one made by R. A. Shoaf or Stephen Barney's Norton Critical edition), and some refer to a translation, at least one to the translation done by Nevill Coghill. The reader needs to pay careful attention to what edition is actually on the screen when making a selection.If you want to read the original text, I would recommend Stephen Barney's edition. Barney is the editor who made the critical edition for the Riverside Chaucer, and his Norton Critical edition includes ten excellent critical essays in addition to Chaucer's poem, Giovanni Boccaccio's "Il Filostrato" (Chaucer's source), and Robert Henryson's "Testament of Crisseid." Shoaf's edition is also good, but twice as expensive, and it does not have as much contextual material. Coghill is a fine translator of Chaucer, and for the reader who does not want to tackle the Middle English he will provide an adequate experience. But beware: His smooth couplets sound more like Alexander Pope than the vigorous medieval writer he is translating.
32 of 36 people found the following review helpful. A marvelous translation and an excellent place to start. By tepi 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.
33 of 39 people found the following review helpful. The most unsung, but perhaps the most modern, of Shakespeare By darragh o'donoghue One of his lesser known works, Shakespeare's Trojan play is also one of his most intriguing. Not quite a burlesque, 'Troilus and Cressida''s lurches in tone, from farce to historical drama to romance to tragedy, and its blurring of these modes, explains why generations of critics and audiences have found it so unsatisfying, and why today it can seem so modern. Its disenchanted tone, its interest in the baser human instincts underlying (classical) heroism look forward to such 20th century works as Giraudoux's 'The Trojan War Will Not Take Place' or Terry Jones' 'Chaucer's Knight'; the aristocratic ideals of Love and War, inextricably linked in this play, are debased by the merchant-class language of exchange, trade, food, possesion - the passionate affair at its centre is organised by the man who gave his name to pimps, Pandarus, and is more concerned with immediate sexual gratification than anything transcendental. The Siege of Troy sequences are full of the elaborately formal rhetoric we expect from Shakespeare's history plays, but well-wrought diplomacy masks ignoble trickery; the great heroes Ajax and Achilles are petulant egotists, the latter preferring the company of his catamite to combat; the actual war sequences, when they finally come, are a breathless farce of exits and entrances. There are a lot of words in this play, but very few deeds.Paris, Prince of Troy, has abducted Helen, wife of Menelaus, King of Sparta. Led by the latter's brother Agamemnon, and his Machiavellian advisors Ulysses and Nestor, the Greeks besiege Troy, demanding the return of Helen. However, Achilles' dissatisfaction at the generals' endless politicking has spread discontent in the ranks. Within Troy, war takes a distinct second place to matters of the heart. While Paris wallows in luxury with his prize, his youngest brother Troilus uses Pandarus as a go-between to arrange a night of love with his niece, Cressida. When one of the Trojan leaders is taken prisoner by the Greeks, the ransom price is Cressida.There is only one character in 'Troilus' who can be said to be at all noble and not self-interested, the eldest Trojan prince Hector, who, despite his odd interpreation of the quality 'honour', detests a meaningless war, and tries to spare as many of his enemies' lives as he can. He is clearly an anachronism, however, and his ignoble slaughter at the hands of a brutal gang suggests what price chivalry. Perhaps the most recognisable character is Thirsitis, the most savagely cynical of his great Fools. Imagine Falstaff without the redeeming lovability - he divests heroes and events of their false values, satirises motivations, abuses his dim-witted 'betters' and tries to preserve his life at any cost. Written in between 'Hamlet' and 'All's Well That Ends Well', 'Troilus' bears all the marks of Shakespeare's mid-period: the contrapuntal structure, the dense figures, the audacious neologisms, and the intitially deferred, accelerated action. If some of the diplomacy scenes are too efective in their parodic pastiche of classical rhetoric, and slow things down, Act 5 is an amazing dramatic rush, crowning the play's disenchantment with love (with an extraordinarily creepy three-way spaying of an infidelity) and war.The New Penguin Shakespeare is the most accessible and user-friendly edition for students and the general reader (although it does need updating). Unlike the Oxford or Arden series, which offer unwieldy introductions (yawning with irrelevant conjecture about dates and sources) and unusable notes (clotted with tedious pedantry more concerned with fighting previous commentators than elucidating Shakespeare), the Penguin's format offers a clear Introduction dealing with the play and its contexts, an appendix 'An Account of the Text', and functional endnotes that gloss unfamiliar words and difficult passages. The Introduction is untainted by fashions in Critical Theory, but is particularly good at explaining the role of Time ('When time is old and hath forgot itself...And blind oblivion swallowed cities up'), the shifting structure, the multiple viewpoints in presenting characters, and Shakespeare's use of different literary and linguistic registers.
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