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Category Archives: Troilus and Cressida
The Blind Leading the Dead
“I know what ’tis to love;
And would, as I shall pity, I could help.
Please you walk in, my lords.” (4.4.10-13)
There is a tragic absurdity that runs through Troilus and Cressida. Paris, in the lines above, expresses his regret to Troilus that he cannot interfere in Troilus’ separation from Cressida. This line does not seem to be mocking and yet, as an audience, we know that what he says is untrue. Paris has all the power to help Troilus. He simply needs to return Helen to her husband and end the war. Paris seems totally unaware of the absurdity of his attempt to comfort Troilus. He takes no blame for the widespread pain he inflicts. Like Shakespeare’s caricatures of Menelaus, Ulysses, and Agamemnon, the portrait of a blindly hypocritical Paris serves to undermine the blind reverence that follows those in power. This theme is carried further in the hectic short scenes of act 5. Amidst the bloody chaos, Agamemnon says “march patiently on” (5.9.6). Not only are the leaders in this play out of touch with the human consequences of their actions, they are disconnected from the reality of events as they unfold around them.
Women in Troilus and Cressida
I have to agree with many of the comments made so far, especially the one that characterizes the women in Shakespearean plays. In this particular play, Troilus and Cressida, women are portrayed as either a whore, crazy or hardly referred to at all in the text.
Andromache does not appear in the play until act V. She is the wife of the greatest Trojan warrior, Hector. “Hath nothing been but shape and forms of slaughter” (5.3.12). In act V she implores Hector not to fight because she dreamed about his death. After a few lines we never hear from her again.
Cassandra is the Trojan princess and prophetess. She is portrayed as a crazy woman yet she warns her brothers of the fall of Troy, “Cry, cry! Troy burns, or else let Helen go” (2.2.112). She does not reappear until the final act, when she too warns Hector of his death. The Trojans fail to listen to her words and they lose their hero.
Helen is cause of the war between the Trojans and the Greek. She is represented as a whore in this play because she willingly leaves Menelaus for Paris. Diomedes calls both men fools to fight and destroy for her and for their glory. (4.1.54-56)
Cressida is also depicted as whore. At first she thinks highly of Hector then Pandarus opens her eyes to Troilus. She gives in to his seduction as she will give in to Diomedes. In act IV Ulysses degrades Cressida by stating that everyone must kiss her to welcome her. I believe this act was unfair to Cressida because there is nothing else she could have done about the kisses. Yet she is deemed as loose by Ulysses and he himself does not kiss her.
Posted in Troilus and Cressida
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Scene Study – Group 5 – Act 5, Scene 3
http://youtu.be/r6qeLQ8J-Mg
Posted in Troilus and Cressida
Tagged Cressida, group 5, Hector, scene study, shakespeare, Troilus
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The Irony of Thersites
I think I need to put in my two cents about Thersites because if anyone else has noticed, the one person who is considered a “fool” is actually the only one who thinks rationally. The Greek commanders are so engulfed in their own egos and their desire to be true heroes that their actions fall extremely short.
In Act 2, we are introduced to Thersites whom we’ve discussed in class to be someone with some type of psychological defect and because of this, he’s allowed to say whatever he thinks without repercussions. Throughout Act 2, the Greek commanders, especially Ajax, belittle Thersites constantly. Even though Hector was completely against keeping Helen, he finally decided that she should stay because “for ’tis a cause that hath no mean dependence/ Upon our joint and several dignities.” (2.2. 192-193) His deranged sense of honor (deranged because how can it be “honorable” to keep another’s man’s wife) and egotistical tendencies keep him from actually thinking rationally.
At the beginning of 2.3, Thersites becomes the voice of reason explaining the commanders’ misguided decisions. He says, “Or, rather, the Neapolitan bone-ache,/ for that methinks, is the curse depending on those that war for a placket.” (2.3. 19-21) One can interpret this as Thersites scolding the commanders’ for continuing a war based on mostly sexual desires, which was the role of women during that time.
This irony can also extend to Cassandra who prophesied the demise of Troy if Helen was not returned. Cassandra’s brothers think she’s insane and do not heed to her warnings. Again, someone who is considered “defective” in the play is the one who actually becomes the voice of reason.
Posted in Troilus and Cressida
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Homer’s Hector v. Shakespeare’s Hector
In 2800 most of us studied Homer, and I’m not sure if I hold this opinion alone, but while reading the Iliad, I was a big fan of Hector. In class the other day we discussed Hector’s speeches in Act 2, and I’m sure many of us were put off by Hector’s seemingly thoughtless change of opinion. Homer’s Hector does give in to the power of war, and lets the war destroy his family, however Hector seems much less a hero, as presented by Shakespeare. I can’t help but wonder why Shakespeare felt this way about Hector, especially as we discussed that the English would have felt connected to the Trojans. Shakespeare does not present either side with much respect, as we see the foolishness of the Greeks who cannot work together in the war while we also see the Trojans experiencing domestic unrest. I’m curious why Shakespeare presents the war in this way.
Posted in Troilus and Cressida
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Is Helen the Fairest of Them All?
We all know that Paris kidnapped Helen (who actually voluntarily went with Paris) because he fell in love with her. He talks about how beautiful she is, how he’s head over heels for her, etc. Even Pandarus comments about her marvelous white skin. Thus, the Trojan War began for Helen’s return.
But is Helen really that beautiful? In all Greek mythology, Helen is stated to be the most beautiful woman in the world yet it is only Paris who approaches her. Of course she is the wife to King Menelaus but it seems that there are only these two men who are in love with her. If you are the most beautiful woman in the world, wouldn’t you have countless suitors after your love? Wouldn’t you have every man as your slave kissing your feet and tending to your every need?
Indeed she is flattered by others such as Pandarus: “What says my sweet queen, my very, very sweet queen?” (3.1.81-2). She receives many other compliments but you would think they would also be after this very beautiful, sweet lady’s companionship.
I guess proclaiming a war over her is enough to state her utmost beauty. But if she had a magic mirror on the wall, would it be able to reply that she is the fairest of them all?
A Little Help
I know there are some Hollywood changes to our lovely story, but this movie helps me keep most of the characters straight. (BRAD PITT!)
Posted in Troilus and Cressida
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You Can Get Away With Murder
I do realize that women aren’t treated respectfully in
Shakespeare’s plays, but they also aren’t exactly model citizens. We’ve seen
that the women act out in anger (hey there, Beatrice) and strike their sisters
(oh, Kate), and also have interesting ways of interacting with many of the men
in the plays. I think what allows these characters, specifically Cressida and
Helen, to get away with their very informal, and suggestive, behavior is that
they are known to be beautiful.
In an exchange with Pandarus, Cressida replies to his remark
about what position she defends herself by saying, “Upon my back, to defend my
belly” (1.2.273). One can imagine that she is alluding to a sexual position. It
would seem that because she is pretty and charming and very witty, that she is
able to get away with such candid talk, even if it is to a relative. I suppose them
being related does give a bit of an allowance of how she conducts her behavior.
If that is the case, what is her excuse with Troilus. When confessing her love
(somewhat contrived) she says, “And yet, good faith, I wished myself a man, Or
that we women had men’s privilege Of speaking first. Sweet, bid me hold my
tongue” (3.2.129-131). Again Cressida speaks her mind without any
consequences. In fact, because she spoke her mind freely she was able to get
what she wanted: Troilus.
In Act 3 Scene 1, Helen keeps up with Pandarus’ underlying vulgar
insinuations and flirts openly. Pandarus says, “What says my sweet queen? My
cousin will fall out with you” (3.1.81-81). Yet she is never chided by Paris
for her behavior. We don’t just see vulgar conversation from Helen; we also see
that she does not take direction well. When Pandarus asks her to leave he and
Paris alone she says, “Nay, this shall not hedge us out. We’ll hear you sing,
certainly” (3.1.62-63). Not once do we see her take direction from anyone in
this play.
My argument is that these women get away with it because of
their looks. In the same way that the deformed citizens like Thersites can say
what they want so are these women allowed to speak their mind. Sexism may be
alive and well in Shakespeare’s plays, but at least our beautiful female
characters get to have a little fun.
Posted in Gender matters, Troilus and Cressida
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Helen vs. Cressida
While you know from the beginning of Troilus & Cressida that the main love story is going to be, of course, between Troilus & Cressida, I couldn’t help but realize while reading Act III of the play that this is the first time we meet Helen. After all, this war was instigated by her, and she is known as the most beautiful woman in the area – it seems natural that Shakespeare would write about the most beautiful woman, not a lesser beauty like Cressida.
But when you compare Helen’s remarks in Act III, Scene I, to Cressida’s in Act I, Scene II, something about Helen falls flat in comparison to Cressida. Whereas Cressida is constantly on her toes ready to go head to head with whomever she is speaking to, Helen resorts to bawdy jokes.
It’s also interesting to note that while Helen is the main reason this war is taking place, it is Cressida’s name in the title of the play. However, throughout much of the play thus far, it has been Helen, and not Cressida, that has been driving much of the plot. That is because the majority of the plot has been the talk of war, and the rivalry between Ulysses & Achilles. This may be a weakness on Shakespeare’s part, but the romance that the title alludes to is not really picked up until Act III. There are other pairings – Ulysses & Achilles, Pandarus & Troilus, Achilles & Patroclus – that are explored more deeply before we ever see Troilus & Cressida in love.