Love and War in William Shakespeare's "Troilus and Cressida"

Chaucer's displacement of "Troilus and Criseyde" also uses the consanguinity amid the two lovers to explore the nature of the conflict between troy weight and Greece. However, the portrayal of the lovers' relationship here differs significantly from Shakespeare's. This version portrays a relationship that clearly has more(prenominal) integrity than Shakespeare's and it is visualized with more integrity than Shakespeare's. Consequently, its correlation to the cont oddity differs significantly. This version explores the denotation and the relationship between Troilus and Criseyde more so than Shakespeare's. At first, the war appears to be more of a backdrop to the relationship between the lovers. However, Chaucer shows us that the relationships between people, whether loverly or warlike, are much controlled by acts out of their control. People often make mistakes when transaction with such situations and he offers Troilus and Cressida in a much more sympathetic light than does Shakespeare.

Chaucer's narrator states in Book I of the story that: "Forthy ensample taketh of this man, Ye wise, proude, and worthi folkes alle,/To scornen Love, which that so so nonpareil kan/The Freedom of youre hertes to hym thralle;/ For evere it was, and evere it shal byfalle,/That Love is he that alle involvement may bynde,/For may no man fordon the lawe of kynde" (232-38). These lines a

In fact, instead of any idea of potency into heaven, Shakespeare's version ends with scene after scene on the battlefield. Although the knead appears to be entirely about relationships, it in fact shows that no(prenominal) of the characters are capable of sustaining any sort of relationship because their truly focus is on themselves. By the end, Troilus has denounced Cressida as a informer and a whore. The numerous battles that take place at the end only underscore the fact that love is war. As Thersites, the fool, says in Act V, scene ii: "Lechery, lechery; still wars and lechery; nothing else holds dash" (192-93).

Cressida is not really seen by anyvirtuoso in the play as a real person; rather, she is merely used as a pawn in the war between Troy and Greece.

Chaucer's version of "Troilus and Criseyde" is much more lyrical and flowing than is Shakespeare's. This is probably a result of both the more compassionate elan with which it treats its romantic content and the ballad-like form in which it is presented. Shakespeare's version on the other hand is dramatic and is specifically intended to sustain a live audience. The language must necessarily be more engaging and often, in Shakespeare, that means more sexualized and bawdy. Consequently, one wonders whether Shakespeare was aware that a version such as Chaucer's tycoon fail to hold an audience for very long. Perhaps by adding "wars and lechery," Shakespeare was merely pandering to the fashion of his time.

To further demonstrate the unthinkingly strained nature of love and war, Shakespeare's version of the story offers a divagate of characters, both Trojan and Greek, who operate in conflict with one another. Almost everyone in Shakespeare's play is in conflict with everyone else. However, mediating these conflicting relationships on the Greek front is Thersites, who is, literally, a fool. His c
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