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Women in Chaucer's time
Women in Chaucer's time
Women in Chaucer's time
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The Trojan War is such an impactful epic that has inspired authors in later ages to continuously borrow ideas and create their own development from the story of Troy. Chaucer is one of these aspiration writers whose Troilus and Criseyde is apparently influenced by Virgil’s The Aeneid. Continuing with Virgil’s steps, Chaucer provides us with an interpretation of Troy story which was built around a tragic love story. However, he intentionally goes on a different path in depicting Troilus and Criseyde’s relationship, compared to Aeneas and Dido’s. An Early Modern writer such as Chaucer certainly has his own ways to portray the theme of love and betrayal instead of reiterating medieval concepts. Both Virgil and Chaucer value love that is passionate …show more content…
She blames herself harshly for betraying Troilus and degrading women’s honor in general: “But since my guilt is settled, hard and fast-/ A falseness far too grievous to undo” (Chaucer, Troilus and Criseyde, V, 1069-1070). Yet, she is determined by her decision to become Diomedes's lover. Troy and Troilus are now her past while she must live for her future somewhere else, among the Greeks. Criseyde has "graduate from the role of a passive Dido to a departing Aeneas” (Stone) to make the best out of a bad situation. Chaucer pays attention to portray Criseyde as real as possible within a wide range of emotions. Even though he agrees “she’s punished well”, Chaucer still has “compassion” towards Criseyde (Chaucer, Troilus and Criseyde, V, 1069-1070). He pities Criseyde for her vulnerability and respects her desire to survive. Perhaps what Chaucer wants to convey is that women should not be seen as an attachment to men but as individuals who have their own wants and needs. What Criseyde has done could be immoral, but it could also be the only choice she …show more content…
He keeps sending her letters asking about her faithfulness despite her brief and ambiguous responses. He is confident enough to believe “He’d win her back again, so bright of hue” (Chaucer, Troilus and Criseyde, V, 1573). Criseyde contributes to lengthening Troilus' meaningless faith by keep saying “I’ll come to you, but now such is my state,/ I’m so in doubt, that what year or what day/ That this shall be,… I can’t supply a date.” (Chaucer, Troilus and Criseyde, V, 1618-1620). This is the most controversial detail about how Criseyde treats her old lover – Troilus after she decides to be with Diomedes. Her betrayal of Troilus is understandable but why does she lie to come back when she apparently will not? Is it because she still loves him? Or is it because she does not want to dishonor Troilus? Chaucer may want his characters to end up differently from Dido’s tragic death. If Criseyde lets Troilus know she has decided to abandon him, Troilus may react negatively and kill himself. Then, Criseyde will suffer from even worse dishonor. Whatever Chaucer has in mind writing this part, he has foreseen how Criseyde will be harshly criticized for her selfish action. In the end, it seems obvious that Criseyde herself does not have many
Homer’s Iliad has been a European myth for many millennia , the long poetic narrative written in the 8th century B.C. recounts a fearsome war fought over a beautiful woman. The reliability of Homers Iliad as a true historical document has been challenged for hundreds of years and only through archaeological studies can the truth be deciphered. The Iliad was written five centuries after the war, where the stories had been passed down through the oral tradition, therefore the type of society reflected within the poems resemble much more the time of Homer . The fact and fiction of the Iliad has been uncovered through archaeology. Archaeologist found a site in which they thought to have been ‘Troy’ destroyed by the powerful country of Mycenae in the late Bronze Age. They found large amount of material culture from where they could reconstruct the society, this included pottery, engravings, murals and clay tablets. A reason for the Trojan War has always inspired great controversy. The Trojan War according to Homer was fought over the abduction of a beautiful women but this theory appears improbable. Other causes which could have sparked a war is Troy’s geographical positioning. This made it extremely opulent, where other countries of the Aegean would trade there goods and use its harbour. The Mycenaean’s being an extremely imperial, violent and militaristic country would have seen Troy as a great opportunity to gain territory and wealth, on this motive the war took place.
A twenty-first century reading of the Iliad and the Odyssey will highlight a seeming lack of justice: hundreds of men die because of an adulteress, the most honorable characters are killed, the cowards survive, and everyone eventually goes to hell. Due to the difference in the time period, culture, prominent religions and values, the modern idea of justice is much different than that of Greece around 750 B.C. The idea of justice in Virgil’s the Aeneid is easier for us to recognize. As in our own culture, “justice” in the epic is based on a system of punishment for wrongs and rewards for honorable acts. Time and time again, Virgil provides his readers with examples of justice in the lives of his characters. Interestingly, the meaning of justice in the Aeneid transforms when applied to Fate and the actions of the gods. Unlike our modern (American) idea of blind, immutable Justice, the meanings and effects of justice shift, depending on whether its subject is mortal or immortal.
The Merchant's revealed nature, however, combats the very destruction of creation and individual that he tried to attain. As the Merchant tries to subsume the reality of marriage, love, and relationship under his own enviously blind view, Chaucer shows us another individual, significant and important in his own way. Instead of acting as a totalizing discourse, Chaucer uses the Merchant's tale to reveal his depraved envy and to reveal him as no more than a wanton cynic. Thus, Chaucer provides the very perspective that the Merchant tries to steal from his audience.
For the Greeks, Homer's Odyssey was much more than just an entertaining tale of gods, monsters, and men, it served as cultural paradigm from which every important role and relationship could be defined. This book, much more so than its counter part The Iliad, gives an eclectic view of the Achean's peacetime civilization. Through Odyssey, we gain an understanding of what is proper or improper in relationships between father and son, god and mortal, servant and master, guest and host, and--importantly--man and woman. Women play a vital role in the movement of this narrative. Unlike in The Iliad, where they are chiefly prizes to be won, bereft of identity, the women of Odyssey are unique in their personality, intentions, and relationship towards men. Yet, despite the fact that no two women in this epic are alike, each--through her vices or virtues-- helps to delineate the role of the ideal woman. Below, we will show the importance of Circe, Calypso, Nausicaa, Clytaemestra, and Penelope in terms of the movement of the narrative and in defining social roles for the Ancient Greeks.
When asked to envision medieval courts, often images from Game of Thrones or The Tudors come to mind -- maybe even Sir Lancelot and jousting. Yet, these television shows and stories derive their inspiration from a genuine historical context so fascinating and pervasive that nearly 1,000 years later Western culture is still transfixed. French author Chrétien de Troyes, who ironically penned the first romantic depiction of Sir Lancelot, wrote many of the tales that inspire modern pop culture. His stories, particularly that of Cligés written in 1176 AD, though filled with sometimes supernatural, amorous, and scintillating drama, can reveal the political and social undercurrent of the Middle Ages. Ultimately, the passionate characters and events
In Virgil’s The Aeneid, there are many parallels found in Homer’s The Odyssey. In each epic, the heroes, Aeneas and Odysseus, are on a journey “home.” Aeneas is on the search of a new home for he and his companions to settle since Troy has been destroyed, Odysseus on the other hand is attempting to return to his home he left years earlier to fight the Trojan War. They both have Gods against them and helping them, both Aeneas and Odysseus are both held back by women, both voluntary and involuntarily, and they both have experiences visiting the Underworld. Despite these similarities, there are differences between the two characters and it reflects their values and the society they live in. Aeneas relies on his strength as a warrior, where as Odysseus uses his deception to survive which reflects how Aeneas is truly Roman is versus Greek.
Helen of Troy, known as the most beautiful woman of ancient Greek culture, is the catalyst for the Trojan War. As such, she is the subject of both Edgar Allen Poe’s “To Helen” and H.D.’s “Helen”; however, their perceptions of Helen are opposites. Many poets and authors have written about Helen in regards to her beauty and her treacherous actions. There is a tremendous contrast between the views of Helen in both poems by Poe and Doolittle. The reader may ascertain the contrast in the speakers’ views of Helen through their incorporation of diction, imagery, and tone that help convey the meaning of the work.
...g happy together? Women who have no feelings for a man, would never bother trying to convince a man to stay. Adding on to that statement, women who are not madly in love with a man would not seem so crazy and flip flop their emotions like Circe does in the poem. Circe cares for Odysseus, and because of that she lets him go instead of keeping him prisoner. If letting go of him and lying about her true feelings will make him happy then it is what must be done; this is proof of her love.
In the Middle Ages, when The Canterbury Tales was written, society became captivated by love and the thought of courtly and debonair love was the governing part of all relationships and commanded how love should be conducted. These principles changed literature completely and created a new genre dedicated to brave, valorous knights embarking on noble quests with the intention of some reward, whether that be their life, lover, or any other want. The Canterbury Tales, written in the 14th century by Geoffrey Chaucer, accurately portrays and depicts this type of genre. Containing a collection of stories within the main novel, only one of those stories, entitled “The Wife of Bath’s Tale”, truly outlines the 14th century community beliefs on courtly love.
...ut. They feel bad for him because his stubbornness caused the death’s of his family members, but they also feel fear because of what happened to him. They think If Creon was a king and something this horrible could happen to his , what is there to say that something this horrible can not happen to an average citizen, They will try to adjust their lives so that something like this will not happen to them. It makes them look at the Moral aspects of their life and make them want to change, so they will not be stubborn and prideful and will not end up like King Creon, and that is exactly what a tragic hero is meant to do. Sophocles wrote the play Antigone tache the audience morals and that what a tragic hero is supposed to so, and King Creon accomplishes this the best, That is why Cron is the beAt illustration of a tragic hero.
Chaucer's Troilus and Criseyde is a very widely applauded work of poetry. His works, which include the extensive Canterbury Tales, have a history of being appealing to a variety of people, from the members of the Court to the lesser population. This, some would say, would probably be because Chaucer chooses to direct his writings at all types of characters through the medium of language topical issues and style, but Troilus and Criseyde is a work vastly culminating towards a fairly restricted audience. As it is, it talks of the Trojan war, which only a select crowd or elite would know about, and also, we cannot forget that Chaucer was a favourite at Court ; Chaucer's Troilus and Criseyde is based to a large extent on Boccaccio's Il Filostrato, but he made quite a lot of changes to the way the protagonists are portrayed. Chaucer's art rests in the way he describes rounded characters and not really types as some might have thought. The two main characters have been dealt with in such an astute and crafty manner that the reader asks himself whether Troilus as the hero is the main character or is Criseyde the more appealing of the two.
Despite their differing value sets, the Homeric and chivalric ideals of heroism are both similarly dependent on definitive perspectives of valuation, action, and selfhood. This is why the lens of heroism is the most effective lens through which to analyse Troilus and Cressida as a textual and thematic palimpsest. Most obviously, the conflicting versions of heroism have contradicting ideals. As Bruce Smith observes, “A man cannot be the chivalrous knight and the saucy jack or the Herculean hero and the merchant prince at the same time – or at least he cannot comfortably be so.” The Troy legend produced in medieval and Renaissance collective consciousness an originary basis for literary tropes and heroic moulds. Characters such as Achilles, Ajax, and Hector become synonymous with various brands of masculinity and heroism, and the titular characters of Troilus and Cressida have cultural resonance as archetypal lovers, a concept which is moralized and gendered, who are either true or false in their vows to one another. The play engages with the audience’s collective memory, refiguring the well-known myths so that they are self-referential and distorted. Troilus and Cressida is the Trojan War inverted, the character or Achilles, or Helen, seen as if reflected in a funhouse mirror. They are at once themselves, and (potentially poor) imitations of themselves (a point which is stressed in Ulysses’ criticism of Patroclus in Act 1, Scene 3). Edward L. Hart asserts that the play is a dramatic question, posed by Shakespeare to himself: “What would happen if one should write a play in which all values are reversed, a play in which the mirror held up to life reflects not a positive but a negative image?” The very nature of these characters as archetypes further emphasizes the effect of Shakespeare’s particular moulding of them in a way that destabilizes
Cressida betrays Troilus by not resisting going to the Greeks. Troilus expressed his ardent love for Cressida and shows he really loves her. He even asked Pandarus to partake in wooing her by saying “I tell thee I am mad in Cressida’s love”. (Shakespeare 39) He does prevail over Cressida and she even pronounces her love to him. But when Cressida is taken over to the Greeks, she does not fight or struggle, instead it seems like she goes over with no resistance. Troilus feels betrayed that she behaves this way.
Chaucer’s epic poem, Troilus and Criseyde, is not a new tale, but one Chaucer merely expanded upon. One of these expansions that Chaucer’s work has become renowned for is the improvement of the characters. Generally, Chaucer’s characters have more texture, depth, humanity, and subtlety than those of the previous tales. Of the three main figures in the epic poem, Troilus, Criseyde, and Pandarus, Pandarus is the character that Chaucer took the most liberty with, creating and evolving Pandarus until he had taken on an entirely different role. However, this is not to say that Chaucer did not add his own style to Troilus and Criseyde. Chaucer’s continual development of the primary characters definitely lend more interest and humor to the epic poem, Troilus and Criseyde.
To begin, the one true reason the Trojan War began is because of the astonishing queen named Helen, whose angelic loveliness sparked the tension between Troy and Greece. Helen was the queen of the Greek city-state Sparta, married to King Menelaeus. In Heinrich Schliemann’s book “The Search for Troy” he announced that “Helen was considered to be the most gorgeous mortal in the entire world” (Schliemann 36). Her godly looks were adored all around, but one man was jealous of Greece having such a beautiful queen, and wanted her all to himself. The mighty prince, known to be the prince of Troy, named Paris had traveled to Sparta and kidnapped Helen, and returned to Troy along with her; little did he know that soon his dreadful decision would foreshadow the future of Troy and its citizens. Once the Greeks had discovered that their beloved jewel was missing, and had found where she had been taken to, the Greeks immediately launc...