Troilus and Criseyde and over one million other books are available for Amazon Kindle. Learn more
Buy New
$11.03
Qty:1
  • List Price: $13.00
  • Save: $1.97 (15%)
FREE Shipping on orders over $35.
Only 9 left in stock (more on the way).
Ships from and sold by Amazon.com.
Gift-wrap available.
Add to Cart
Have one to sell? Sell on Amazon
Flip to back Flip to front
Listen Playing... Paused   You're listening to a sample of the Audible audio edition.
Learn more
See this image

Troilus and Criseyde (Penguin Classics) Paperback – April 30, 1971


See all 55 formats and editions Hide other formats and editions
Amazon Price New from Used from
Kindle
"Please retry"
Paperback
"Please retry"
$11.03
$5.45 $0.01
Unknown Binding
"Please retry"
$8.94


Frequently Bought Together

Troilus and Criseyde (Penguin Classics) + Dream Visions and Other Poems (Norton Critical Editions) + The Canterbury Tales: Fifteen Tales and the General Prologue (Norton Critical Editions)
Price for all three: $45.95

Buy the selected items together

NO_CONTENT_IN_FEATURE

The Bone Clocks
David Mitchell's hypnotic new novel crackles with invention and sheer storytelling pleasure. Learn more

Product Details

  • Series: Penguin Classics
  • Paperback: 368 pages
  • Publisher: Penguin Classics; Reissue edition (April 30, 1971)
  • Language: English
  • ISBN-10: 0140442391
  • ISBN-13: 978-0140442397
  • Product Dimensions: 0.7 x 5 x 7.6 inches
  • Shipping Weight: 8 ounces (View shipping rates and policies)
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (28 customer reviews)
  • Amazon Best Sellers Rank: #154,373 in Books (See Top 100 in Books)

Editorial Reviews

Review

Tragic verse romance by Geoffrey Chaucer, composed in the 1380s and considered by some critics to be his finest work. The plot of this 8,239-line poem was taken largely from Giovanni Boccaccio's Il filostrato. It recounts the love story of Troilus, son of the Trojan king Priam, and Criseyde, widowed daughter of the deserter priest Calchas. The poem moves in leisurely fashion, with introspection and much of what would now be called psychological insight dominating many sections. Aided by Criseyde's uncle Pandarus, Troilus and Criseyde are united in love about halfway through the poem, but then she is sent to join her father in the Greek camp outside Troy. Despite her promise to return, she is loved by the Greek warrior Diomedes and comes to love him. Troilus, left in despair, is killed in the Trojan War. These events are interspersed with Boethian discussion of free will and determinism and the direct comments of the narrator. At the end of the poem, when Troilus' soul rises into the heavens, the folly of complete immersion in sexual love is viewed in relation to the eternal love of God. -- The Merriam-Webster Encyclopedia of Literature

Language Notes

Text: English (translation)

More About the Author

Discover books, learn about writers, read author blogs, and more.

Customer Reviews

4.0 out of 5 stars
5 star
15
4 star
5
3 star
4
2 star
0
1 star
4
See all 28 customer reviews
Chaucer's Troilus and Criseyde is not so easily classifiable.
J. Edgar Mihelic
This poem is not as strong as the Canterbury Tales, but it is a must read for all lovers of world literature.
Luc REYNAERT
The difference is as great as that between a black-and-white movie and technicolor.
tepi

Most Helpful Customer Reviews

22 of 22 people found the following review helpful By Wanda B. Red VINE VOICE on June 13, 2008
Format: Paperback Verified Purchase
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.
1 Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again
29 of 33 people found the following review helpful By tepi on July 8, 2001
Format: Paperback
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.
Read more ›
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again
31 of 37 people found the following review helpful By darragh o'donoghue on March 11, 2002
Format: Paperback
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.
Read more ›
3 Comments Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again
Format: Mass Market Paperback
I know readers who claim to prefer this play to Chaucer's "Troilus and Criseyde"--which tells you something either about their inability to read Chaucer or their jaded sense of humor. Shakespeare's version of the story is every bit as dark and sardonic as Chaucer's is light and satiric. In fact, this must be the Bard's blackest comedy, too strained, disconnected, and unfocused to pass muster as "tragedy." In fact, if we take seriously Ulysses' oft-quoted speech on "degree" (accepting one's limits as a requirement for cosmic order) and Troilus' confirmation of an up-ended moral universe ("the bonds of heaven have slipped!"), there's no longer room for the heroic or tragic in the modern world Shakespeare has created in this play.

Despite containing some of the playwright's most memorable and eloquent speeches, it's the cynical tone and absurdist context, not story or character, that we remember from the play. Somewhat like Hitchcock in "Rear Window," Shakespeare places the reader in the position of deviant-voyeur, subjecting him to both the testimony and proof of Thersites' recurring reminder that, where heroism and love are concerned, all is "war and lechery." If we decide to stay the course, we're rewarded at play's end with Pandarus's speech to the audience, promising to bequeath us with "his diseases." It's shocking that Shakespeare got away with such material in a pre-penicillin era, but no less noteworthy is the audience's masochistic compliance (in itself, a potential commentary on the degradation that Shakespeare forcefully exposes and criticizes in this play).

The play often scores with modern audiences because productions opportunistically go "over the top" with exaggerated visual and verbal bawdry.
Read more ›
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again

Most Recent Customer Reviews

Search

What Other Items Do Customers Buy After Viewing This Item?