On first reading, it may seem as if this is meant to mock Troilus and devalue his love for her. But readers are further shocked when Cressida gives Troilus’ sleeve, the favor he bestowed upon her, to Diomedes. So it comes as no surprise that later, she cheats on the man she has proclaimed to love. The blunt portrayal of Cressida’s untruthfulness leads the reader to further stereotype her as an unfaithful person. Cressida herself admits to being false, saying “Yea, let them say, to stick to the heart of falsehood, ‘As false as Cressid’” (III.ii.96-97). Indeed, there is much conversation between Troilus, Cressida, and Pandarus about Troilus’ adherence to being true and Cressida’s fault of being false.
#Love strange love konusu series
The series of knowable events leads the reader of the play to conclude that, perhaps, Cressida should be devalued as a moral human being and merely chalked up as a whore. What follows in the Greek camp is a quick erosion of Cressida’s promises as she first (sexually) teases the Greeks then eventually succumbs to Diomedes. Exchanging tokens of love and promises of faithfulness, the lovers part. Of course, a kink in the lovers’ happiness is soon thrown into the works when they learn that Cressida must be given over to the Greek army in exchange for Antenor, a Trojan nobleman and Greek prisoner. Upon their meeting, Cressida admits that she has also “loved night and day for many weary months” (III.ii.116-117). By playing upon his role of the go-between, Pandarus eventually brings the two lovers together. Pandarus speaks highly of her to him, and later, of him to her. The prince enlists Pandarus, uncle to Cressida, to aid him in his pursuit of the young girl. In the first scene of the play, the storyline immediately discloses Troilus’ affections for Cressida. The story of the first pair appears to be an innocent pursuit of love, where boy meets girl, boy gets girl, etc. This portrayal of the maiden may seem unmerited until background is given of the affair between Troilus and Cressida, and afterward, between Diomedes and Cressida. These are obvious sexual references which Thersites uses to reveal the true nature of Diomedes’ flighty prize, Cressida. It seems to be common knowledge within the Greek army that “any man may sing her, if he can take her cliff” (V.ii.10-11) and that she will, with minimal persuasion, “be secretly open” (V.ii.23). In fact, there are several references within the text itself that allude to this interpretation of her personality. In common analyses of Troilus and Cressida, Cressida is often portrayed as a whore. Thus, it is fitting to explore who Cressida really is and to uncover the motives for her actions throughout the play. Much of the apparent turmoil between Troilus and Cressida results from Cressida’s dissention in V.ii. However, most have experienced war in the emotional sense–in the sense of love. After all, not many have experienced physical war. While the scenes portraying the war are effective in their own right, I find it much more effective to discuss the more accessible story of the lovers. Indeed, it seems that the love story between these two provides an overarching metaphor for the second plot line, that of the Trojan War. However, the actions of Troilus and Cressida seem more poignant because they deal closely with the concept of human values and virtues. The love story between Troilus, the Trojan prince, and the maiden Cressida is only one of the two major plot lines in Shakespeare’s Troilus and Cressida.
0 kommentar(er)
