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Essay on Chaucer’s Troilus and Crisedye

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Chaucer's Troilus and Crisedye is based on the classical myth of the siege at Troy, and while Homer focused on the influence of martial and lustful passion, Chaucer uses the background of the Trojan War to explore stereotypes of chivalric love. Literature of the Middle Ages was an unstable form, and even the ancient traditions which inspired Troilus and Criseyde and John Lydgate's Troy Book resisted categorization and identification. Therefore, the courtly romance genre which informed the works of Chaucer and Lydgate contains within it elements which trouble the traditional stereotypes of gender. Susan Crane argues that medieval romance writing was an intrinsically gendered genre, shaping both the presentation of the sexes and the structure of the text itself. Clearly influenced by Judith's Butler's theory of performativity, which posits gender as ideologically constructed and tied up with notions of cultural representation and socio-political power, Crane argues that gender depends on the literary genre which enacts its representation. According to Crane's definition, gender stereotypes impose order and establish value; thus, the courtly romance gives meaning and significance to gender by placing it in a literary discourse which 'asserts' and 'modifies' ideas of 'what it means to live in a gendered identity' (Crane 7). Crane argues

how romances 'perform' gender rather than the reverse - how they construe masculinity and femininity, how they work out the paradigm of difference and the challenge of intimacy, and how they relate gender to other expressions of social identity (12)

Representations of gender stereotypes work to define and delimit power relations in both John Lydgate's Troy Book and Chaucer's Troilus and Criseyde, while at the same time challenging the narrowness of these characterizations.

The notion of chivalry is essential to the medieval romance, for it dictates the standards of behaviour and social expectations that inform and define gender stereotypes. Erich Auerbach maintains that the chivalric romance has for its fundamental purpose, 'a self-portrayal of feudal knighthood with its mores and ideals' (114). The ideals of chivalric society revolved around love, or rather, around courtly love. C.S. Lewis lays out the criterion of courtly love: a knight is ennobled by his love for his lady, whose love is often difficult to obtain but given in the spirit of generosity. However, Chaucer's characters in Troilus and Criseyde challenge this tradition of the romance dependent on female submission and male dominance. Troilus is innocent in love, and so restrained in his pursuit of Criseyde that his manhood is questioned. Pandarus asks, 'is this a mannes herte?' (III.1098) and Criseyde likewise questions 'is this a mannes games?' (III.1126), implying that he is not living up to the expectations of the chivalric hero. His value as a romantic hero has been questioned by modern critics as well: Howard Patch believes that Troilus is not masculine enough to fulfil the romantic plot (89), and Sheila Delany claims that his 'self-pity, self-deception and passivity become more and more prominent' (84), undercutting his position as the image of chivalric masculinity.

In Book I of Troilus and Criseyde, Troilus is presented as the epitome of a princely leader, sitting with his friends at the temple of Apollo 'Biholding ay the ladyes of the toun' (I.186) and acting like a 'fers and proude knight' (I.225). Like Shakespeare's Benedick in Much Ado About Nothing, he scoffs at his companions when they shows the signs of love, figuring himself as the quintessential bachelor.

I have herd told, pardieux, of your livinge, Ye lovers, and your lewede observaunces, And which a labour folk han in winninge Of love, and, in the keping, which doutaunces; And whan your preye is lost, wo and penaunces; O verrey foles! nyce and blinde be ye; Ther nis not oon can war by other be. (I.197-203)

Troilus is clearly an egotistical and insular character; however, he is transformed from the narcissistic prince into the 'subgit unto love' (I.231) when his gaze falls upon Criseyde, and retreats from the temple 'thorugh-shoten and thorugh-darted' (I.325), wounded by love as if in battle. Thus, his position as the 'worthy kinges sone' (I.226) who sees love as a feminine weakness, is transformed and reformed by his love for Criseyde. The effect of love on Troilus' character is clearly revealed at the end of Book III. After taking leave of his mistress, Troilus returns home, where he is consumed by the thought of her.

That swich a voys was of hym and a stevene Thorugh-out the world, of honour and largesse, That it up rong un-to the yate of hevene. And, as in love, he was in swich gladnesse, That in his herte he demede, as I gesse, That there nis lovere in this world at ese So wel as he, and thus gan love him plese (III.1723-1729)

Troilus swings from the extreme of confirmed bachelor to lovesick romantic, convinced that there a no 'lovere in this world at ese / So wel as he.' Celebrating Troilus's 'compassionate response' to his mistress in Book V, David Aers says that 'Chaucer manifests the quality of love and commitment that has emerged from the relationship, for the male at any rate' (195), as a positive virtue which defines the ideal of chivalric masculinity. Despite his noble stature, and initial characterization as an arrogant and aggressive prince, his love for Criseyde transforms him and washes away his faults.

And though that he be come of blood royal, Him liste of pryde at no wight for to chase; Benigne he was to ech in general, For which he gat him thank in every place. Thus wolde love, y-heried be his grace, That Pryde, Envye, Ire, and Avaryce He gan to flee, and every other vyce. (III.1800-1806)

Thus, for men, love is a positive virtue which ennobles the hero. For women, however, Chaucer envisages a different response to courtly love. In his article, 'King's Business: Negotiating Chivalry in Troilus and Criseyde,' Craig Berry suggests Criseyde as the typical 'damsel in distress' who depends on the protection of men, shaping a 'religion of love' (Berry 250) which establishes a double-standard. Capellanus's Art of Courtly Love satirises the ideals of courtly love to which Criseyde is expected to conform, and yet valorizing the expression of courtly love in Troilus as ennobling and reforming.

Criseyde is initially unwilling to accept Troilus' advances. Pandarus urges Criseyde to cast off her widow's clothes and become social once again. He tells her:

Do wey 3oure barbe and shew 3oure face bare; Do wey 3oure book, rys vp, and lat vs daunce, And lat vs don to May som obseruaunce. (II.110-12)

But Criseyde responds with shock, suggesting that once she has taken up the role of the widow she would not cast it aside. This echoes her conversation with Hector in Book I, in which she vows to keep her name and honour despite the advances of a worthy suitor. Pandarus, as her uncle and guardian, counsels her in the way to behave, despite it countering her own beliefs.

'for al this world ne kan I reden what It sholde ben; som iape I trowe is this; And but 3oure seluen telle vs what it is' (II.129-31)

Thus, despite Criseyde's effort to maintain her honour and social standing, she is counselled by her patriarchal figure of authority to take the path to shame and, ultimately, a tragic end.

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