TROILUS AND CRISEYDE--TROILUS
[Cross-references included at the bottom of the page]
776. BARNEY, STEPHEN A. "Troilus Bound." Speculum 47 (1972): 445-58.
Studies Chaucer's theme of bondage in association with fortune, love, and sin as it characterizes Troilus. The theme recurs in Troilus's speeches, reflecting that he is bound to truth and by love, thereby a "model of heroic steadfastness and tragic incapacity." Also surveys Chaucer's theme of bondage in works earlier than Troilus and Criseyde.
777. BARON, F. XAVIER. "Chaucer's Troilus and Self-Renunciation in Love." Papers in Language and Literature 10 (1974): 5-14.
Attributes Troilus's hestitancy to act to his "self-renunciation in love," as well as his vanity and fatalism. At the end of Troilus and Criseyde, self-renunciation looms large, an essential aspect of Troilus's idealized "nobility and magnificence."
778. GREEN, RICHARD F. "Troilus and the Game of Love." Chaucer Review 13 (1979):201-20.
Contrasts Troilus's "comic ineptitude as a love-talker" with the sociable love-talking of Pandarus and Criseyde and the expedient palaver of Diomedes. Troilus lacks verbal dexterity, but he makes it up in sincerity and "trouthe," reflecting the ambivalent status of courtly love in society and literature.
779. HASKELL, ANN S. "The Doppelgangers in Chaucer's Troilus." Neuphilologische Mitteilungen 72 (1971):723-34.
Explores the significant "twoness" of Troilus and Criseyde by observing Troilus's three doubling relationships: with Hector as a simple public double, with Pandarus as a "fractional" double without whom Troilus is incapable of sustaining a love affair, and with Diomedes as his "unrestrained opposite" who heralds Troilus's death.
780. HATCHER, ELIZABETH R. "Chaucer and the Psychology of Fear: Troilus in Book V." ELH: Journal of English Literary History 40 (1973):307-24.
Contrasts Chaucer's Troilus and Criseyde with Boccaccio's Filostrato to clarify the psychological subtlety Chaucer creates in Troilus's responses to Criseyde's departure. His initial refusal to doubt her, his dream of the boar, and his consultation of Cassandra reflect his growing fear of the truth and, ironically, make Criseyde appear worse to him than she really is--the bitterest irony of Troilus's tragedy.
781. MANN, JILL. "Troilus' Swoon." Chaucer Review 14 (1980):319-45.
Argues that Troilus's swoon in Troilus and Criseyde is one stage in the ongoing growth of the relation between the lovers, a development which levels the social and emotional discrepancies between them and thereby provides a sound basis for the consummation scene which follows.
782. MARTIN, JUNE HALL. "Troilus." In Love's Fools: Aucassin, Troilus, Calisto and the Parody of the Courtly Lover. Coleccion Tamesis, series A, no. 21. London: Tamesis Books, 1972. pp. 37-70.
Characterizes Troilus as a comic parody of the typical courtly lover, contrasting him with courtly heroes like Tristan and Chretien's Lancelot, and identifying Chaucer's manipulation of conventional details and attitudes: the hero's prowess and willingness to act, the lovers's need for secrecy, the pains of love, and the religion of love.
783. MASI, MICHAEL. "Troilus: A Medieval Psychoanalysis." Annuale Mediaevale 11 (1970):81-88.
Psychoanalyzes Troilus in medieval fashion, assessing the effects of his first sight of Criseyde, his use of imagination to fix her image mentally, and his melancholic dream of the boar. The stages of fascination and the nature of the dream are familiar from Aristotle and Galen.
784. WHITMAN, FRANK H. "Troilus and Criseyde and Chaucer's Dedication to Gower." Tennessee Studies in Literature 18 (1973):1-11.
Contrasts the presentations of a "knight in love" in Chaucer's Troilus and Criseyde and John Gower's Vox Clamantis, reading Chaucer's Troilus as a depiction of the debilitating effects of improper love, and assessing the narrator's sympathy for Troilus as comic irony. Cites examples of juxtaposition, bathos, and unreasonable behavior as indications that the poem undercuts Troilus's sentiments.
See also entries 696, 706-07, 709-10, 714, 723, 744, 748, 753, 774.
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