TROILUS CRESSIDA How Now, Young Man! Mean'st Thou to Fight To-Day? and Whither Go They? ANDROMACHE ALEXANDRA Cassandra, Call My Father to Persuade

Total Page:16

File Type:pdf, Size:1020Kb

TROILUS CRESSIDA How Now, Young Man! Mean'st Thou to Fight To-Day? and Whither Go They? ANDROMACHE ALEXANDRA Cassandra, Call My Father to Persuade 100 1 Troilus and Cressida ABRIDGED Written by William Shakespeare Edited by Dan Schuster 2 99 98 3 TROILUS Hence, broker-lackey! Ignomy and shame Pursue thy life, and live aye with thy name! Exit TROILUS; THERSITES enters and goes back to pillaging the two bodies PANDARUS A goodly medicine for my aching bones! O world! William Shakespeare’s World! World! Thus is the poor agent despised! O traitors and bawds, how earnestly are you set a-work, and how ill requited! Why should our endeavour be so loved and the performance so loathed? What verse for it? What instance for it? Let me see: ‘Full merrily the humble-bee doth sing, Till he hath lost his honey and his sting; And being once subdued in armed tail, Sweet honey and sweet notes together fail.’ Good traders in the flesh, set this in your painted cloths. As many as be here of pander's hall, Your eyes, half out, weep out at Pandar's fall; Troilus Or if you cannot weep, yet give some groans, Though not for me, yet for your aching bones. and Brethren and sisters of the hold-door trade, Some two months hence my will shall here be made: It should be now, but that my fear is this, Some galled goose of Winchester would hiss: Cressida Till then I'll sweat and seek about for eases, And at that time bequeathe you my diseases. Exit PANDARUS and THERSITES together Edited by Dan Schuster The Wichita Shakespeare Co. 4 97 ACHILLES Troilus and Cressida The dragon wing of night o'erspreads the earth, Dramatis Personae And, stickler-like, the armies separates. My half-supp'd sword, that frankly would have fed, PRIAM, King of Troy Pleased with this dainty bait, thus goes to bed. ACHILLES sheathes his sword and exits followed by AJAX, and His sons: DIOMEDES; TROILUS enters and discovers the body of HECTOR HECTOR; he kneels next to the body; enter AENEAS and TROILUS PANDARUS PARIS AENEAS Stand, ho! Yet are we masters of the field: Trojans: Never go home; here starve we out the night. AENEAS, a Trojan commander CALCHAS, a Trojan priestess, taking part with the Greeks TROILUS PANDARUS, uncle to Cressida Hector is slain. ANDROMACHE, wife to Hector PANDARUS CASSANDRA, daughter to Priam, a prophetess Hector! The gods forbid! CRESSIDA, daughter to Calchas ALEXANDRA, servant to Cressida TROILUS Frown on, you heavens, effect your rage with speed! AGAMEMNON, the Greek general Sit, gods, upon your thrones, and smile at Troy! I say, at once let your brief plagues be mercy, Greeks: And linger not our sure destructions on! ACHILLES, the greatest of the Greek warriors Hector is gone: AJAX, a Greek warrior Who shall tell Priam so, or Hecuba? ULYSSES, a Greek commander Let him that will a screech-owl aye be call'd, NESTOR, the oldest of the Greek commanders Go in to Troy, and say there, Hector's dead: DIOMEDES, a Greek commander There is a word will Priam turn to stone; PATROCLUS, a Greek warrior Make Niobes of the maids and wives, THERSITES, a deformed and scurrilous Greek Cold statues of the youth, and, in a word, HELEN, living in Troy with Paris Scare Troy out of itself; there is no more to say. You vile abominable tents, Thus proudly pight upon our Phrygian plains, Let Titan rise as early as he dare, I'll through and through you! And, thou Achilles, No space of earth shall sunder our two hates; I'll haunt thee like a wicked conscience still, That mouldeth goblins swift as frenzy's thoughts. Strike a free march to Troy! With comfort go: Hope of revenge shall hide our inward woe. Exeunt AENEAS PANDARUS But hear you, hear you! 96 5 TROILUS O traitor Diomed! Turn thy false face, thou traitor, Troilus and Cressida And pay thy life thou owest me! List of scenes AJAX ACT I Page I'll fight with him alone: stand, Diomed. Prologue Prologue 7 DIOMEDES He is my prize; I will not look upon. Scene 1 Troy. Before Priam's palace. 8 TROILUS Scene 2 The Same. A street. 11 Come, both you cogging Greeks; have at you both! Enter HECTOR; he observes the end of the fight as TROILUS Scene 3 The Grecian camp. Before Agamemnon's tent. 18 exits followed by AJAX and DIOMEDES. ACT II HECTOR Yea, Troilus? O, well fought, my youngest brother! Scene 1 A part of the Grecian camp. 25 Now is my day's work done; I'll take good breath: Scene 2 Troy. A room in Priam's palace. 29 Rest, sword; thou hast thy fill of blood and death. Puts off his helmet and hangs his shield behind him; enter Scene 3 The Grecian camp. Before Achilles' tent. 34 ACHILLES ACT III ACHILLES Look, Hector, how the sun begins to set; Scene 1 Troy. Priam's palace. 43 How ugly night comes breathing at his heels: Scene 2 The same. Pandarus' orchard. 47 Even with the vail and darking of the sun, To close the day up, Hector's life is done. Scene 3 The Grecian camp. Before Achilles' tent. 52 HECTOR ACT IV I am unarm'd; forego this vantage, Greek. ACHILLES Scene 1 Troy. A street. 61 So, Ilion, fall thou next! Scene 2 The same. Court of Pandarus' house. 63 ACHILLES slashes HECTOR’s throat from behind; HECTOR dies Scene 5 The Grecian camp. Lists set out. 72 Now, Troy, sink down! Here lies thy heart, thy sinews, and thy bone. ACT V On, Grecians, and cry you all amain, 'Achilles hath the mighty Hector slain.' Scene 1 The Grecian camp. Before Achilles' tent. 81 A retreat sounded Scene 2 The same. Before Calchas' tent. 83 Hark! A retire upon our Grecian part. Enter AJAX and DIOMEDES Scene 3 Troy. Before Priam's palace. 89 DIOMEDES Scene 4 Plains between Troy and the Grecian camp. 94 The Trojan trumpets sound the like, my lord. 6 95 THERSITES No, no, I am a rascal; a scurvy railing knave; a very filthy rogue. HECTOR I do believe thee: live. THERSITES God-a-mercy, that thou wilt believe me; but a plague break thy neck for frightening me! Exit THERSITES; HECTOR approaches PATROCLUS and grabs hold of the body HECTOR Most putrefied core, so fair without, Thy goodly armour thus hath cost thy life. HECTOR puts body down; ACHILLES enters and sees the very end of this; HECTOR exits; ACHILLES approaches body of PATROCLUS; he kneels, cradling him; wailing. ACHILLES Where is this Hector? Come, come, thou boy-queller, show thy face! Know what it is to meet Achilles angry: ACT I Hector? Where's Hector? I will none but Hector! ULYSSES has entered and viewed this activity unobserved. ACHILLES exits. A satisfied smirk is on ULYSSES face as AJAX and DIOMEDES enter from opposite ends. ULYSSES O, courage, courage, princes! Great Achilles Is arming, weeping, cursing, vowing vengeance: Patroclus' wounds have roused his drowsy blood. Exeunt ULYSSES AJAX Troilus, thou coward Troilus, show thy head! DIOMEDES Troilus, I say! Where's Troilus? AJAX What wouldst thou? DIOMEDES I would correct him. Enter TROILUS 94 7 SCENE IV. Plains between Troy and the PROLOGUE Grecian camp. THERSITES Alarums; enter THERSITES In Troy, there lies the scene. From isles of Greece THERSITES The princes orgulous, their high blood chafed, Now they are clapper-clawing one another; I'll go Have to the port of Athens sent their ships, look on. That dissembling abominable varlet Diomed, Fraught with the ministers and instruments has got that same scurvy doting foolish young knave's Of cruel war: sixty and nine, from the Athenian bay glove of Troy there on his hand; I would fain see Put forth toward Phrygia; and their vow is made them meet; that that same young Trojan ass, that To ransack Troy, within whose strong immures loves the whore there, might send that Greekish The ravish'd Helen, Menelaus' queen, whore-masterly villain, with the glove, back to the With wanton Paris sleeps; and that's the quarrel. dissembling luxurious drab. To Tenedos they come; Soft! Here comes glove, and t'other. And the deep-drawing barks do there disgorge Enter DIOMEDES, TROILUS following Their warlike fraughtage: now on Dardan plains The fresh and yet unbruised Greeks do pitch TROILUS Their brave pavilions: Priam's six-gated city, Fly not; for shouldst thou take the river Styx, With massy staples and corresponsive and fulfilling bolts, I would swim after. Sperr up the sons of Troy. Now expectation, tickling skittish spirits, DIOMEDES On one and other side, Trojan and Greek, Thou dost miscall retire: Sets all on hazard: and hither am I come I do not fly, but advantageous care A prologue arm'd, to tell you, fair beholders, that our play Withdrew me from the odds of multitude: Leaps o'er the vaunt and firstlings of those broils, Have at thee! Beginning in the middle, starting thence away THERSITES To what may be digested in a play. Hold thy whore, Grecian!--Now for thy whore, Like or find fault; do as your pleasures are: Trojan!--Now the glove, now the glove! Now good or bad, 'tis but the chance of war. Exeunt TROILUS and DIOMEDES, fighting; enter ULYSSES; PATROCLUS enters from tent. THERSITES hides as they enter. PATROCLUS bumps into ULYSSES; startled, he turns to face ULYSSES; PATROCLUS laughs, relieved to see his ally. ULYSSES beckons PATROCLUS to him; as PATROCLUS approaches, ULYSSES stabs him with a dagger. PATROCLUS looks at ULYSSES with a look of betrayal and dies. With a look of satisfaction, ULYSSES exits.
Recommended publications
  • AGAMEMNON PROLOGUE: Lines 1-39
    AGAMEMNON PROLOGUE: Lines 1-39 GUARD: Watching from a WatchTower in Argos for the beacon of light announcing the fall of Troy! Laments of how long he has waited and watched with “elbow-bent, doglike,” without sleep. At prologues end, the beacon of light has brightened the sky. Guard has much joy, and hope that this will turn the house around. Imagery: Light/ Dark Lines 16-18: We know there is something amiss with how the house is being “administered.” The mix of anticipation and foreboding sets mood of the play. Something’s Coming. PARADOS: Prelude Lines 40- 103 What Character is the Chorus Playing? Lines 72-76 PRELUDE Continued WHAT’S GOING ON? - Trojan War has just ended after 10 years, but how did it began? MENELAUS- KING OF SPARTA AGAMEMNON- KING OF ARGOS/ BROTHER OF MENELAUS Vs. PARIS (ALEXANDER)- PRINCE OF TROY HELEN- Once Wife of Menelaus now Wife of Paris (Clytemnestra's Sister) “Promiscuous Girl, Stop Teasing Me” NESTRA: WAIT, SO MY HUSBAND LEFT TO FIGHT A WAR TO FORCE MY \ SISTER TO STAY MARRIED TO HIS BROTHER? CHORUS: YES, CLYTEMNESTRA. NESTRA: ALRIGHT, COOL. SO, I’M JUST GONNA TRY TO TAKE CARE OF THIS KINGDOM OF ARGOS THEN, I GUESS. CHORUS: BUT, WHY ARE YOU BURNING ALL THESE SACRIFICES FOR THE GODS AND ORDERING ALL THESE CELEBRATIONS? NESTRA: WELL… CHORUS: IMMA LET YOU FINISH BUT, I GOTTA TELL YOU ABOUT THIS OTHER MESS REAL QUICK.. PARADOS: Three-Part ODE Part One: STROPHE (East To West, or From Stage Right) ANTISTROPHE (West to East, or From Stage Left) EPODE (From Center, could be by one member of chorus or multiple) CALCHAS: I’m a Soothsayer and those two eagles eating that pregnant rabbit means VICTORY for the two brothers! ARTEMIS: Yes, but those eagles killed a pregnant rabbit.
    [Show full text]
  • Trojan Women: Introduction
    Trojan Women: Introduction 1. Gods in the Trojan Women Two gods take the stage in the prologue to Trojan Women. Are these gods real or abstract? In the prologue, with its monologue by Poseidon followed by a dialogue between the master of the sea and Athena, we see them as real, as actors (perhaps statelier than us, and accoutered with their traditional props, a trident for the sea god, a helmet for Zeus’ daughter). They are otherwise quite ordinary people with their loves and hates and with their infernal flexibility whether moral or emotional. They keep their emotional side removed from humans, distance which will soon become physical. Poseidon cannot stay in Troy, because the citizens don’t worship him any longer. He may feel sadness or regret, but not mourning for the people who once worshiped but now are dead or soon to be dispersed. He is not present for the destruction of the towers that signal his final absence and the diaspora of his Phrygians. He takes pride in the building of the walls, perfected by the use of mason’s rules. After the divine departures, the play proceeds to the inanition of his and Apollo’s labor, with one more use for the towers before they are wiped from the face of the earth. Nothing will be left. It is true, as Hecuba claims, her last vestige of pride, the name of Troy remains, but the place wandered about throughout antiquity and into the modern age. At the end of his monologue Poseidon can still say farewell to the towers.
    [Show full text]
  • COMMENTARY Calchas on the Basis of an Omen Declares That Troy Must
    COMMENTARY 1-20 Calchas on the basis of an omen declares that Troy must be taken by trickery. It is easy to assert 1 that Q. has combined the traditional detail2 of Odysseus' device ofthe Horse with Sinon's claim in Virg. A. 2. 185f. that Calchas 'ordered' the Greeks to build it. Even if the detail is Virg. 's own 3, in Q. Calchas' intervention is grounded in reality, is based on a wholly dif­ ferent set of circumstances, is strategically necessary (an effective method of crushing the stiff opposition put up by the god-fearing Neoptolemos, a motif certainly not of Q. 's own devising: 66-103n. ), and must be viewed against the background of a tradition in which oracles, prophecies and portents abound4 , and in which Calchas came to assume an increasingly dominant role 5 • Q. 's Calchas indeed (for his teaming up with Odysseus cf. the n. on 360-88, § 4 (a) (ii)) is a leading light in decision making both before and after the fall of Troy6 • His Trojan counterpart Helenos, so popular elsewhere, is virtually driven out of the action: he is a fighter viii. 252f., xi. 348f.; a seer, though not explicitly so, only in the chaotic prophecy of Hera at x. 346f. Calchas is on the scene at this point in the saga in Dictys 5. 7: he predicts that Troy will fall into Greek hands on the basis of an omen involving an eagle carrying a victim's entrails. The doubly inept Triph. 172f. is worth a passing glance: the 'aged' Calchas is in the Horse, and in his capacity as a seer he is well aware ( EU Elow~) that the Greeks were at long last going to take Troy.-Triph.
    [Show full text]
  • Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell
    STUDY GUIDE Photo of Mark L. Montgomery, Stephanie Andrea Barron, and Sandra Marquez by joe mazza/brave lux, inc Sponsored by Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell SETTING The action takes place in east-central Greece at the port of Aulis, on the Euripus Strait. The time is approximately 1200 BCE. CHARACTERS Agamemnon father of Iphigenia, husband of Clytemnestra and King of Mycenae Menelaus brother of Agamemnon Clytemnestra mother of Iphigenia, wife of Agamemnon Iphigenia daughter of Agamemnon and Clytemnestra Achilles son of Peleus Chorus women of Chalcis who came to Aulis to see the Greek army Old Man servant of Agamemnon, was given as part of Clytemnestra’s dowry Messenger ABOUT THE PLAY Iphigenia in Aulis is the last existing work of the playwright Euripides. Written between 408 and 406 BCE, the year of Euripides’ death, the play was first produced the following year in a trilogy with The Bacchaeand Alcmaeon in Corinth by his son, Euripides the Younger, and won the first place at the Athenian City Dionysia festival. Agamemnon Costume rendering by Jacqueline Firkins. 2 SYNOPSIS At the start of the play, Agamemnon reveals to the Old Man that his army and warships are stranded in Aulis due to a lack of sailing winds. The winds have died because Agamemnon is being punished by the goddess Artemis, whom he offended. The only way to remedy this situation is for Agamemnon to sacrifice his daughter, Iphigenia, to the goddess Artemis. Agamemnon then admits that he has sent for Iphigenia to be brought to Aulis but he has changed his mind.
    [Show full text]
  • 1 Achilles and Patroclus in the Trojan War: an Introductory Case Study
    Cambridge University Press 978-0-521-89582-8 - Interpreting the Images of Greek Myths: An Introduction Klaus Junker Excerpt More information 1 Achilles and Patroclus in the Trojan War: An introductory case study From early times, the use of the bow and arrow formed a part of Greek military practice, as a dangerous long-range weapon. If the arrow had not struck an immediately fatal blow, it could still be the cause of insidious wounds. If the arrowhead had become completely embedded in the body and perhaps, in the heat of the battle, broken off from the shaft, then the removal of the metal would cause acute pain and, in certain circumstances, cause further damage to the tissues surrounding the wound. In the detailed battle descriptions of the Iliad, wounds caused by arrows are mentioned on various occasions. When the Greek Menelaus has just been struck by an arrow, his initial fear gives way to relief that the binding, which attaches the arrowhead to the shaft, is still visible (4, 150–1): the wound cannot be deep and the damage is therefore slight. So too in the picture that will now be used as a test case for interpretation (Fig. 1), the warrior has been lucky in his misfortune. The arrow portrayed in beautiful detail in the left foreground, so as to put the cause of the wound in his arm beyond all doubt, is still complete and, at the most, slightly bent at the tip, unless the small irregularity in the drawing is unintentional. Yet the abrupt turn away of the head and the open mouth, with the teeth visible and coated in added white, convey something of the pain that the man feels, as his comrade-in-arms applies the bandage to his arm.
    [Show full text]
  • Homer's Iliad Via the Movie Troy (2004)
    23 November 2017 Homer’s Iliad via the Movie Troy (2004) PROFESSOR EDITH HALL One of the most successful movies of 2004 was Troy, directed by Wolfgang Petersen and starring Brad Pitt as Achilles. Troy made more than $497 million worldwide and was the 8th- highest-grossing film of 2004. The rolling credits proudly claim that the movie is inspired by the ancient Greek Homeric epic, the Iliad. This was, for classical scholars, an exciting claim. There have been blockbuster movies telling the story of Troy before, notably the 1956 glamorous blockbuster Helen of Troy starring Rossana Podestà, and a television two-episode miniseries which came out in 2003, directed by John Kent Harrison. But there has never been a feature film announcing such a close relationship to the Iliad, the greatest classical heroic action epic. The movie eagerly anticipated by those of us who teach Homer for a living because Petersen is a respected director. He has made some serious and important films. These range from Die Konsequenz (The Consequence), a radical story of homosexual love (1977), to In the Line of Fire (1993) and Air Force One (1997), political thrillers starring Clint Eastwood and Harrison Ford respectively. The Perfect Storm (2000) showed that cataclysmic natural disaster and special effects spectacle were also part of Petersen’s repertoire. His most celebrated film has probably been Das Boot (The Boat) of 1981, the story of the crew of a German U- boat during the Battle of the Atlantic in 1941. The finely judged and politically impartial portrayal of ordinary men, caught up in the terror and tedium of war, suggested that Petersen, if anyone, might be able to do some justice to the Homeric depiction of the Trojan War in the Iliad.
    [Show full text]
  • Iliad Teacher Sample
    CONTENTS Teaching Guidelines ...................................................4 Appendix Book 1: The Anger of Achilles ...................................6 Genealogies ...............................................................57 Book 2: Before Battle ................................................8 Alternate Names in Homer’s Iliad ..............................58 Book 3: Dueling .........................................................10 The Friends and Foes of Homer’s Iliad ......................59 Book 4: From Truce to War ........................................12 Weaponry and Armor in Homer..................................61 Book 5: Diomed’s Day ...............................................14 Ship Terminology in Homer .......................................63 Book 6: Tides of War .................................................16 Character References in the Iliad ...............................65 Book 7: A Duel, a Truce, a Wall .................................18 Iliad Tests & Keys .....................................................67 Book 8: Zeus Takes Charge ........................................20 Book 9: Agamemnon’s Day ........................................22 Book 10: Spies ...........................................................24 Book 11: The Wounded ..............................................26 Book 12: Breach ........................................................28 Book 13: Tug of War ..................................................30 Book 14: Return to the Fray .......................................32
    [Show full text]
  • Crossing the Boundaries in Kushner and Shakespeare Grant Williams, University of Pittsburgh
    Crossing the Boundaries in Kushner and Shakespeare Grant Williams, University of Pittsburgh Both the theater and criticism depends upon the production of the new and the reappropriation of the old. -Charles R. Lyons (97) […] the need to rehearse and renegotiate the relationship with memory and the past is nowhere more specifically expressed in human culture than in theatrical performance. -Marvin Carlson (167) arold Bloom says, “Genre, frequently metaphoric in Shakespeare, is particularly uneasy in Troilus and H Cressida, variously termed satire, comedy, history, tragedy, or what you will” (327). Moving forward to Tony Kushner’s two- part epic, Angels in America, we find another work that refuses simple classification. David Savran says of it, “Angels is a promiscuously complicated play that is very difficult to categorize […] evoking characteristics that are usually associated with both comedy and tragedy” (15). Many of the reasons for their categorical elusiveness obviously differ, but both plays employ an idea of disease as means by which corruption and politics of exclusion are problematized and changed. In Troilus and Cressida, the audience is confronted with an honored society that, underneath a noble façade, possesses a “Most putrefied core” (5.9.1). Shakespeare uses disease as a thematic tool to align theatrical entertainment with society’s own use of marginalization in order to build a connection between the characters onstage and the audience. Kushner uses disease, vis-à-vis the politics surrounding AIDS, as a platform to remedy the historical tendency to marginalize the sick. While Shakespeare’s play can be seen as a dark satire culminating in a spread of corruption, the topos of disease reveals more about the theatre than it does the legend of Troy.
    [Show full text]
  • Queerness in French Baroque Opera: the Relationship Between Achilles and Patroclus in Jean Baptiste Lully’S Achille Et Polyxène
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 5-7-2021 Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène Jason Thompson [email protected] Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Thompson, Jason, "Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène" (2021). Master's Theses. 210. https://digscholarship.unco.edu/theses/210 This Dissertation/Thesis is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2021 JASON TRAVIS THOMPSON ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School QUEERNESS IN FRENCH BAROQUE OPERA: THE RELATIONSHIP BETWEEN ACHILLES AND PATROCLUS IN JEAN-BAPTISTE LULLY’S ACHILLE ET POLYXÈNE A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music Jason Travis Thompson College of Performing and Visual Arts School of Music Music History and Literature May 2021 This Thesis by: Jason Travis Thompson Entitled: Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène has been approved as meeting the requirement for the Degree of Master of Music in the College of Performing and Visual Arts in the School of Music, Program of Music History and Literature.
    [Show full text]
  • 1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis
    Divine Intervention and Disguise in Homer’s Iliad Senior Thesis Presented to The Faculty of the Undergraduate School of Arts and Sciences Brandeis University Undergraduate Program in Classical Studies Professor Joel Christensen, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Joana Jankulla May 2018 Copyright by Joana Jankulla 1 Copyright by Joana Jankulla © 2018 2 Acknowledgements First and foremost, I would like to thank my advisor, Professor Joel Christensen. Thank you, Professor Christensen for guiding me through this process, expressing confidence in me, and being available whenever I had any questions or concerns. I would not have been able to complete this work without you. Secondly, I would like to thank Professor Ann Olga Koloski-Ostrow and Professor Cheryl Walker for reading my thesis and providing me with feedback. The Classics Department at Brandeis University has been an instrumental part of my growth in my four years as an undergraduate, and I am eternally thankful to all the professors and staff members in the department. Thank you to my friends, specifically Erica Theroux, Sarah Jousset, Anna Craven, Rachel Goldstein, Taylor McKinnon and Georgie Contreras for providing me with a lot of emotional support this year. I hope you all know how grateful I am for you as friends and how much I have appreciated your love this year. Thank you to my mom for FaceTiming me every time I was stressed about completing my thesis and encouraging me every step of the way. Finally, thank you to Ian Leeds for dropping everything and coming to me each time I needed it.
    [Show full text]
  • Hostage to Feminism? the Success of Christa Wolf's Kassandra in Its 1984
    This is a repository copy of Hostage to feminism? The success of Christa Wolf’s Kassandra in its 1984 English translation. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/127025/ Version: Accepted Version Article: Summers, C (2018) Hostage to feminism? The success of Christa Wolf’s Kassandra in its 1984 English translation. Gender and History, 30 (1). pp. 226-239. ISSN 0953-5233 https://doi.org/10.1111/1468-0424.12345 © 2018 John Wiley & Sons Ltd. This is the peer reviewed version of the following article: Summers, C (2018) Hostage to feminism? The success of Christa Wolf’s Kassandra in its 1984 English translation. Gender and History, 30 (1). pp. 226-239, which has been published in final form at https://doi.org/10.1111/1468-0424.12345. This article may be used for non-commercial purposes in accordance with Wiley Terms and Conditions for Self-Archiving. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request.
    [Show full text]
  • Filostrato: an Unintentional Comedy?
    Heliotropia 15 (2018) http://www.heliotropia.org Filostrato: an Unintentional Comedy? he storyline of Filostrato is easy to sum up: Troiolo, who is initially presented as a Hippolytus-type character, falls in love with Criseida. T Thanks to the mediation of Pandaro, mezzano d’amore, Troiolo and Criseida can very soon meet and enjoy each other’s love. Criseida is then unfortunately sent to the Greek camp, following an exchange of prisoners between the fighting opponents. Here she once again very quickly falls in love, this time with the Achaean warrior Diomedes. After days of emotional turmoil, Troiolo accidentally finds out about the affair: Diomedes is wearing a piece of jewellery that he had previously given to his lover as a gift.1 The young man finally dies on the battlefield in a rather abrupt fashion: “avendone già morti più di mille / miseramente un dì l’uccise Achille” [And one day, after a long stalemate, when he already killed more than a thou- sand, Achilles slew him miserably] (8.27.7–8). This very minimal plot is told in about 700 ottave (roughly the equivalent of a cantica in Dante’s Comme- dia), in which dialogues, monologues, and laments play a major role. In fact, they tend to comment on the plot, rather than feed it. I would insert the use of love letters within Filostrato under this pragmatic rationale: the necessity to diversify and liven up a plot which we can safely call flimsy. We could read the insertion of Cino da Pistoia’s “La dolce vista e ’l bel sguardo soave” (5.62–66) under the same lens: a sort of diegetic sublet that incorporates the words of someone else, in this case in the form of a poetic homage.2 Italian critics have insisted on the elegiac nature of Filostrato, while at the same time hinting at its ambiguous character, mainly in terms of not 1 “Un fermaglio / d’oro, lì posto per fibbiaglio” [a brooch of gold, set there perchance as clasp] (8.9).
    [Show full text]