"Troilus and __" -- Crossword clue | Crossword Nexus

Yet, after every degree of homage has been paid to the glorious and awful superiorities of Shakespear, it would be unpardonable in us, on the present occasion, to forget one particular in which the play of Troilus and Cressida does not eclipse, but on the contrary falls far short of its great archetype, the poem of Chaucer. This too is a particular, in which, as the times of Shakepear ere much mor enlightened and refined than those of Chaucer, the preponderance of excellence migh well be expected to be foun int he opposite scale. The fact however is unquestionable, that the characters of Chaucer are much more respectable and loveworthy than the correspondent personages in Shakespear. In Chaucer Troilus is the pattern of an honorable lover, choosing rather every extremity and the loss of life, than to divulge, whether in a direct or an indirect manner, anything which might compromise the reputation of his mistress, or lay open her name as a topic for the comments of the vulgar. Creseide, however (as Mr. Urry has observed) at last a "false unconstant whore," yet in the commencement, and for a considerable time, preserves those ingenuous manners and that propriety of conduct, which are the brightest ornaments of the female character. Even Pandarus how and dishonourable as is the part he has to play, is in Chaucer merely a friendly and kind-hearted man, so easy in his temper that rather than not contribute to the happiness of the man he loves, he is content to overlook the odious ames and construction to which his proceedings are entitled. Not so in Shakespear: his Troilus shows no reluctence to render his amour a subject of notoriety to the whole city; his Cressida (for example in the scene with the Grecian chiefs, to all of whom she is a total stranger) assumes the manners of the most abandoned prostitute, and his Pandarus enters upon his vile occupation, not from any venial partiality to the desires of his friend, but from the direct and simple love of what is gross, impudent and profligate. For these reasons Shakepear's play, however enriched with a thousand various beauties, can scarcely boast of any strong claim upon our interest or affections. It may be alleged indeed that Shakespear, having exhibited pretty much at large the whole catalogue of Greek and Trojan heroes, had by no means equal scope to interest us in the story from which they play receives its name; but this would scarcely be admitted as an adequate apology before an impartial tribunal.

Studio Production History - Rock Valley College

Encuentra Shakespeare's History of Troilous and Cressida (Classic Reprint) de William J
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Studio production history by year and by title

(2005)She Loves Me (1993)Smile of the Buddha (1989)Spider’s Web (1998)

Star Rover (1997)Sunday in the Park with George (2015)Taming of the Shrew (2002)The Tempest (1989, 2010)Ten Little Indians (1993)They’re Playing Our Song (1996)Three Women Embracing (1998)Timon of Athens (2004)Titus Andronicus (2000)Towards Zero (1997)Troilous & Cressida (2002)Twelfth Night (1998)Two Gentlemen of Verona (1988)Unexpected Guest (2000)Verdict (1991)Victor/Victoria (2004)Wild Oats (1992)Wings (1986)Winter’s Tale (1996)Witness for the Prosecution (1994, 2015)The Wizard of Oz (2013)Woulda, Coulda, Shoulda (1987)You Can’t Take It With You (2007)Your Plays or Mine (1989)

Troilous & Cressida (2002) ..

The whole catalogue of the in the play of Troilus and Cressida, so far as they depend upon a rich and original vein of humour in the author, are drawn with a felicity which never was surpassed. The genius of Homer has been a topic of admiration to almost every generation of men since the period in which he wrote. But his characters will not bear the slightest comparison with the delineation of the same characters as they stand in Shakespear. This is a species of honour which ought by no means to be forgotten when we are making the enlogium of our immortal bard, a sort of illustration of his greaness which cannot fail to place it in a very conspicuous light, The dispositions of men perhaps had not been sufficiently unfolded in the very early period of intellectual refinement when Homer wrote; the rays of humour had not been dissected by the glass, or tendered perdurable by the pencil, of the poet. Homer's characters are drawn with a laudable portion of variety and consistency; but his Achilles, his Ajax, and his Nestor are, each of them, rather a species that an individual, and can boast more of the propriety of abstraction, than of the vivacity of a moving scene of absolute life. The Achilles, the Ajax, and the various Grecian heroes of Shakespear on the other hand, are absolute men, deficient in nothing which can tend to individualise them, and already touched with the Promethean fire that might infuse a soul into what, without it, were lifeless form. From the rest perhaps the character of Thersites deserves to be selected (how cold and school-boy a sketch in Homer!) as exhibiting an appropriate vein of sarcastic humour amidst his cowardice, and a profoundness and truth in his mode of laying open the foibles of those about him, impossible to be excelled.

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Brenda Davis | Hixson-Lied College of Fine and …

What charming ingenuousness, what exquisite , what ravishing confusion of soul, are expressed in these words! We seem to perceive in them every fleeting thought as it rises in the mind of Cressida, at the same time that they delineate with equal skill all the beautiful timidity and innocent artifice which grace and consummate the feminine character. other writers endeavor to conjure up before them their imaginary personages, and seek with violent effort to arrest and describe what their fancy presents to them; Shakespear alone(though not without many exceptions to this happiness) appears to have the whole train of his characters in voluntary attendance upon him, so listen to their effusions, and to commit to writing all the words, and the very words, they utter.

The blog for all things art, in The Rabbit

Henryson perceived what there was defective in the close of the story of Troilus and Creseide, as Chaucer has left it. It is true that the law of political justice examined. It is true that the law of poetical justice, as it has been technically termed by some modern critics, has been urged to a ridiculous strictness, and that the uniform observation of this law is by no means necessary to the producing the noblest and most admirable effects. The scheme of real events, and the course of nature, so far as we are able to follow it, is conducted by no rule analogous to this of poetical justice; and the works of human imagination ought to be copies of what is to be found in the great volume of the universe. Poetry has a right to deal in select nature; but its selections should not be so fastidious as ot exclude the most impressive scenes which nature has to boast. No true critic would wish Lear, Othello and the Orphan not to have existed, or scarcely to be in any respect other than as they are. Two of the three could not have been changed in their catastrophe, without the destruction of the main principles of their texture. But, though virtue may be shown unfortunate, vice should not be dismissed triumphant. It is not perhaps necessary that it should always be seen overtaken by some striking and terrible retribution; but it should not appear ultimately tranquil and self-satisfied; for such is not its fortune on the great stage of the world. It is followed in most instances by remorse; or, when it is not, remorse is only excluded by a certain hardness and brutality of temper, which is solitary in its character, and incompatible with genuine delight. Henryson therefore judged truly, when he regarded the poem of Chaucer as in this respect faulty and incomplete. The inconstant and unfeeling Creseide, as she appears in the last book of Chaucer, is the just object of aversion, and no reader can be satisfied that Troilus, the loyal and heroic lover, should suffer all the consequences of her crime, while she escapes with impunity.

Geoffrey Chaucer | LibraryThing

The poem of Troilus and Creseide was also translated into Latin rhymes by sir Francis Kinaston in the reign of Charles I, and accompanied with a commentary and notes. In one of the notes the translator has introduced an observation, that, if true, would overturn the hypothesis on which we have prodeeded respecting the age at which Chaucer wrote this poem, and would even introduce a new incident into our knowledge of the events of the poet's life. He remarks that Chaucer has called the light which burned all night in the apartment of Creseide, by the appellation "motar;" and infers that 'this word doth plainly intimate our author to have been an esquire of the body in ordinary to the king; as this is the name of the match-light which burns all night at the king's bed-side, which very few courtiers besides esquires of the body do understand what is meant by it Every reader may judge for himself of the inference to be drawn from the paucity of persons initiated into this profound mystery; and of the "wit" of Chaucer (for such sir Francis Kinaston deems it) in calling this light by a neme which note of his readers, except " esquires of the body in ordinar to the king," could understand.