Troilus and Cressida: Third Series, Revised Edition (The Arden Shakespeare Third Series)
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A revised edition of this intriguing and complex play, updated to cover recent critical thinking and stage history. Troilus and Cressida is a tragedy often labelled a "problem" play because of its apparent blend of genres and its difficult themes. Set in the Trojan Wars it tells a story of doomed love and honour, offering a debased view of human nature in war-time and a stage peopled by generally unsympathetic characters. The revised edition makes an ideal text for study at undergraduate level and above.
doesn’t Paris go to the Capulet ball in Romeo and Juliet? Perhaps because he was doubled with Mercutio, who does. In The Winter’s Tale, Mamillius might have come back as Perdita and Antigonus been doubled by Camillo, making the partnership with Paulina at the end a very neat touch. Titania and Oberon are often played by the same pair as Hippolyta and Theseus, suggesting a symbolic matching of the rulers of the worlds of night and day, but it is questionable whether there would have been time for
another comedy) 1595–96 A Midsummer Night’s Dream 1595–96 The Tragedy of Romeo and Juliet 1595–96 King Richard the Second 1595–97 The Life and Death of King John (possibly earlier) 1596–97 The Merchant of Venice 1596–97 The First Part of Henry the Fourth 1597–98 The Second Part of Henry the Fourth 1598 Much Ado About Nothing 1598–99 The Passionate Pilgrim (20 poems, some not by Shakespeare) 1599 The Life of Henry the Fifth 1599 “To the Queen” (epilogue for a court performance) 1599 As
different from the one before. In the case of Troilus and Cressida, the action is set in either the city of Troy or the camp of the besieging Greek army or the battlefields between the two. Act and Scene Divisions were provided in the Folio in a much more thoroughgoing way than in the Quartos. Sometimes, however, they were erroneous or omitted; corrections and additions supplied by editorial tradition are indicated by square brackets. Five-act division is based on a classical model, and act
plays on phallic connotations of monstrous and “thing” to suggest “no huge penis”) 69 undertakings (lover’s) responsibilities, vows (plays on the sense of “copulations”) 71 imposition enough sufficiently difficult tasks 72 monstruosity in extraordinary nature of (variant form of “monstrosity”) 73 will desire/sexual appetite/penis execution confined acting on it limited 74 the act human endeavor/the sexual act 76 reserve keep back 77 the … ten the ability of ten other lovers/the maximum,
reputation/self-regard 269 leather jerkin close-fitting leather jacket (here presumably reversible) 271 professes not does not engage in 272 wears … arms gives his answer with his weapons 273 put on imitate presence bearing, demeanor, appearance 274 demands requests, questions 275 To him set to it, tackle him 282 Hum! i.e. hmm 293 God buy you God be with you, i.e. goodbye 296 howsoever in either case pay for me i.e. receive a beating 297 has defeats 300 tune i.e. mood 303 fiddler