Troilus and Criseyde (Penguin Classics)

Rating:
Summary: Nice complement.
Review: As good as this translation is, it should be used in conjunction with a reading of the original poem in Middle English verse. And the reader who is too impatient to deal with Chaucer's language should, at the very least, try a modern verse translation before reading this version in prose. There's something to be said for prose translations of epic verse, since the translator need not make compromises between precise meaning and poetic form. Homer's "Odyssey," for example, is so much like a novel that there's little justification for requiring the translator to format the language in metrical hexameters. But Chaucer's poem is a different matter--a lyrical, romantic drama, or subtle, psychological "melodrama," that almost demands a poetic translation for its genial musical qualities to come through. For the reader not planning to read the poem in the original language, I'd suggest checking out "Chaucers (sic) Troilus and Cressida," translated by James Donohoe. It may not be the easiest book to locate, but it's worth the reader's effort to do so.

Rating:
Summary: A marvelous translation and an excellent place to start.
Review: CHAUCER : TROILUS AND CRISEYDE. Translated into Modern English by Nevill Coghill. 332 pp. New York : Viking Press, 1995 (Reissue). ISBN: 0140442391 (pbk.)

Nevill Coghill's brilliant modern English translation of Chaucer's 'The Canterbury Tales' has always been a bestseller and it's easy to understand why. Chaucer was an intensely human writer and a great comic artist, but besides the ribaldry and sheer good fun of 'The Canterbury Tales,' we also know he was capable of other things. His range was wide, and the striking thing about Coghill's translations are how amazingly faithful they are to the spirit of the originals - at times bawdy and hilariously funny, at other times more serious and moving when Chaucer shifts to a more poignant mode as in 'Troilus and Criseyde.'

But despite the brilliance of Coghill's translations, and despite the fact that they remain the best possible introduction to Chaucer for those who don't know Middle English, those who restrict themselves to Coghill are going to miss a lot - such readers are certainly going to get the stories, but they're going to lose much of the beauty those stories have in the original language. The difference is as great as that between a black-and-white movie and technicolor.

Chaucer's Middle English _looks_ difficult to many, and I think I know why. It _looks_ difficult because that in fact is what people are doing, they are _looking_ at it, they are reading silently and trying to take it in through the eye. This is a recipe for instant frustration and failure. But fortunately there is a quick and easy remedy.

So much of Chaucer's power is in the sheer music of his lines, and in their energy and thrust. He was writing when English was at its most masculine and vigorous. And his writings were intended, as was the common practice in the Middle Ages when silent reading was considered a freakish phenomenon, to be read aloud. Those new to Chaucer would therefore be well advised, after reading and enjoying Nevill Coghill's renderings, to learn how to read Middle English _aloud_ as soon as possible by listening to one of the many excellent recordings.

Coghill certainly captures the spirit of Chaucer, but modern English cannot really convey the full flavor and intensity of the original. Learn how to roll a few of Chaucer's Middle English lines around on your tongue and you'll soon hear what I mean. You'll also find that it isn't nearly so difficult as it _looks_, and your pleasure in Chaucer will be magnified enormously.

Rating:
Summary: A marvelous translation and an excellent place to start.
Review: CHAUCER : TROILUS AND CRISEYDE. Translated into Modern English by Nevill Coghill. 332 pp. New York : Viking Press, 1995 (Reissue). ISBN: 0140442391 (pbk.)

Nevill Coghill's brilliant modern English translation of Chaucer's 'The Canterbury Tales' has always been a bestseller and it's easy to understand why. Chaucer was an intensely human writer and a great comic artist, but besides the ribaldry and sheer good fun of 'The Canterbury Tales,' we also know he was capable of other things. His range was wide, and the striking thing about Coghill's translations are how amazingly faithful they are to the spirit of the originals - at times bawdy and hilariously funny, at other times more serious and moving when Chaucer shifts to a more poignant mode as in 'Troilus and Criseyde.'

But despite the brilliance of Coghill's translations, and despite the fact that they remain the best possible introduction to Chaucer for those who don't know Middle English, those who restrict themselves to Coghill are going to miss a lot - such readers are certainly going to get the stories, but they're going to lose much of the beauty those stories have in the original language. The difference is as great as that between a black-and-white movie and technicolor.

Chaucer's Middle English _looks_ difficult to many, and I think I know why. It _looks_ difficult because that in fact is what people are doing, they are _looking_ at it, they are reading silently and trying to take it in through the eye. This is a recipe for instant frustration and failure. But fortunately there is a quick and easy remedy.

So much of Chaucer's power is in the sheer music of his lines, and in their energy and thrust. He was writing when English was at its most masculine and vigorous. And his writings were intended, as was the common practice in the Middle Ages when silent reading was considered a freakish phenomenon, to be read aloud. Those new to Chaucer would therefore be well advised, after reading and enjoying Nevill Coghill's renderings, to learn how to read Middle English _aloud_ as soon as possible by listening to one of the many excellent recordings.

Coghill certainly captures the spirit of Chaucer, but modern English cannot really convey the full flavor and intensity of the original. Learn how to roll a few of Chaucer's Middle English lines around on your tongue and you'll soon hear what I mean. You'll also find that it isn't nearly so difficult as it _looks_, and your pleasure in Chaucer will be magnified enormously.

Rating:
Summary: Worthy of the annals of Priam!
Review: Chaucer is pretty great, but this "lytel booke" stinks.

Rating:
Summary: The same but different!
Review: I'm a lover of Shakespeare's works. I found a used copy of George Krapp's 'Troilus and Cressida' at a local book store. This Modern Library version is an reprint of his classic translation. If you love to read the sources for Shakespeare (Plutarch, Chaucer,Homer and Ovid) then I believe readers will enjoy this poem.

Rating:
Summary: THE GO-BETWEEN
Review: There surely can't be many tragic love stories more affecting and involving than this. Nor, it seems to me, can there be many that are more original, despite the conspicuous play the author makes of depending on ancient sources. The tale of Troilus and Cressida (Criseyde) derives ultimately from the Iliad through a multiplicity of mediaeval variations, cited in detail by the editor. It is original in the way Hamlet is original, in its depiction of characters and thought-processes, and it does not suffer from the comparison. There are four protagonists, and two are straightforward, contrasted with a wince-making clarity. Troilus himself, son of King Priam of Troy, is a mighty warrior but tongue-tied and shy when it comes to dealing with women, derisive to begin with at the agonies of those who fall in love and then falling hopelessly, suddenly and finally into the same trap himself. How often have we all seen just that happen within our own acquaintance? Diomede, sent to escort Cressida from Troy to the Greek camp as part of a prisoner-exchange, is uninhibited in that respect to the point of outright crassness, with an eye for an opportunity and an easy `nothing venture nothing gain' attitude that I would again guess most of us will recognise without much difficulty.

The other two are anything but simple. Chaucer stays deliberately vague regarding Cressida's relationship with Diomede (characteristically hiding behind his sources - he was anything but straightforward himself), and what if anything remains of her love of Troilus. However it seems to me that there was a calculating bit in her decision to give herself to Troilus in the first place. She could make herself fall in love, and her fascinating speeches with the twists and turns of their thinking say to me that she was no innocent, quite unlike her infatuated wooer. That leaves Pandarus, a creation to rival Iago in a different way. Again, it's left to us to decide what prompted such extraordinary vicarious commitment to bringing the pair together. There may or may not be hints that his motivation was not altruistic, but hints are the most they can be. It is not just a matter of his strange motivation but also of his extraordinary mental agility and speed of reaction. He plots the lovers' tryst in fantastic detail, when the fateful prisoner-exchange is decreed he tries to steer Troilus into a different outlook that in effect abandons the romance he has taken such incredible trouble to arrange, and to the very end he is still trying to manipulate the emotions of the devastated Troilus.

It is all told in an easy and relaxed verse, typical Chaucer in being at the same time deadly serious and tongue-in-cheek. This verse is not as 'poetic' as, say, The Ancient Mariner. It stands in much the relationship to that, poetry-wise, as Hamlet does to Macbeth or Othello. This is a psychological drama, not an opportunity to display the special `tone of voice' and `way of saying things' that Housman thought the essence of poetry. Obviously it is in mediaeval English, and this edition uses the authentic original spellings. This will slow most of us down a bit, but that can actually be a good thing. I found that it not only forced me to read with the close attention this drama needs, it kept me fascinated with the wonderful English language itself, and I had to notice how popular speech and even slang have kept alive ancient meanings of words (guess, deal, gear, right, sweetheart) that have been lost in more formal discourse. Where this edition is particularly helpful is in its footnotes reminding us of the meanings of certain words (and reminding us repeatedly, for which I bless the editor) and translating occasional phrases and lines where we might go wrong. I think I only had to refer some half-dozen times to the glossary at the back throughout a poem that is half as long as Paradise Lost.

The editor is no less a person than the Professor of English at Cambridge, so his introduction has the thoroughly thorough and also thoroughly stifling profundity that I associate with university literature courses. There are also notes at the back, very helpful in the main but obsessed with quoting parallels for the sake of quoting parallels. At V/1176 there is the line `Ye, fare wel al the snow of ferne year', and I thought immediately of Villon's `Mais ou sont les neiges d'antan?' On turning to the back I found that the editor just quoted this obvious parallel without further comment on what the connection might be, and for a moment I nearly hurled the book across the room. Again I wondered whether the proem to book III might have influenced Milton's great invocation of light at the start of the same book of Paradise Lost, but no light was shed. In general, though, this is a very helpful edition. When reading the Iliad I found that after I had read the first 23 books the 24th was comparatively simple. You may find here that once you have got through the first four books you are quite fluent with the fifth.


Rating:
Summary: Boosted, yet befuddled
Review: While several reviews have already commented on the overall story of "Troilus and Criseyde," I choose simply to add that its content and themes at once parody temporal love and solemnly instruct fledgling earthly lovers. Further, the book serves as bridge between ancient pagan beliefs and Christianity.

Regarding in particular Mr. Windeatt's translation of this classic tale, I have more to say. Readers of his version will learn, with aid of his Explanatory Notes, the constellation of literary sources from which Chaucer borrowed to assemble his narrative epic. Readers will also discover that Chaucer spawned several proverbial phrases that are still in use today and which Mr. Windeatt kindly lists at the back of his edition.

But while almost any classic piece of literature warrants a rating of five stars for the sake of endurance alone, I cannot give Mr. Windeatt's translation five stars. My reason is best articulated in the form of a query: Why, oh why, Mr. Windeatt, did you translate Chaucer's "Troilus and Criseyde" into prose?!? Your Introduction and Translator's Note provide little answer to this essential question.

I regret that my first encounter with this literary staple was not in its intended poetic form. Anyone wishing to pursue "Troilus and Criseyde" ought to learn from my purchasing oversight and choose a verse translation before reading it in prose. With that said, I'm nevertheless glad to have ingressed Mr. Windeatt's prodigious and commendable gateway to the world of Geoffrey Chaucer.

Rating:
Summary: 5 stars for the original text
Review: Zero stars for "translations". If you enjoy Reader's Digest abridged books and the like then you might prefer a "translation" from English into English of Chaucer's epic. I read this for Chaucer's beautiful use of the English (well, okey, Middle English, but it's still English!) language. Modern writers are so superfluous! Now we write "Once you have come to possess something it is just as difficult to hold on to it as it was to get it in the first place", when once you could write, "As gret a craft is kep wel as wynne". How our language has deteriorated!