of irony attending the “chaungynge of Criseyde”: the
exchange is a less than auspicious exchange politically
(since Antenor is, in part, responsible for the accep-
tance of the Trojan Horse within the walls of Troy). As
Troilus and Criseyde take their leave from one another,
Criseyde swears she will return on the 10th day.
Book 5
Upon her departure from Troy, Diomede arrives to
lead Criseyde into the Greek camp. She never returns
to Troy (in spite of an exchange of letters in which she
and Troilus discuss schemes for doing so), becoming
instead Diomede’s paramour to assure her safety in
the Greek camp. Distraught over the “chaungynge of
Criseyde” and disturbed by his inability to construe his
dream of a Criseyde lying in the arms of a boar, Troilus
seeks out Diomede in battle but is not successful in
avenging himself. He is killed by Achilles, and his soul
ascends to the eighth sphere. The poem ends with a
prayer to God and the Trinity.
Troilus and Criseyde has been described as fulfi lling
the expectations of many different genres. (To this
extent, it anticipates Chaucer’s later more explicit
experiments with genre in The CANTERBURY TALES.) An
extended narrative poem, it includes vivid dramatic
scenes with lively dialogue exchanges. As a result,
some critics emphasize its dramatic qualities most. In
addition, it shares in the characteristics of the follow-
ing genres:
Epic
Chaucer’s narrative has its origins in medieval versions
of Homeric epic, and he invokes epic at the start of
the poem.
History
For many of his details, Chaucer draws on the his-
torical narrative of Guido delle Colonne’s History of
the Destruction of Troy, and relies, as well, on Joseph
of Exeter’s explanation of supposed histories for the
details he includes in his literary account.
Lyric
The poem is replete with lyrical moments that recall
sub-genres of the lyric, such as lamentation and
AUBADE.
FABLIAU
Pandarus’s behavior as entremetteur, his voyeuristic
involvement in the lover’s exchanges, and forthright
naughty behavior all call to mind the fabliau.
ROMANCE
Chaucer uses the love story as an extended meditation
on the conventions of romance, in particular: private
versus public morality; the chivalric code; the value and
defi nitions of honor and truth. Modern readers have
also sometimes compared the poem to a novel because
of its psychological realism. Chaucer himself called his
poem “litel myn tragedgye,” and probably had in mind
the de casibus tradition (rise and fall of princes), con-
necting it to the MIRRORS FOR PRINCES genre.
Recent critical approaches have explored, quite thor-
oughly, the poem’s tangled gender structure (e.g., exam-
ining Chaucer’s remaking of Criseyde within the
tradition of Troilus and Criseyde intertexts). Queer read-
ings have focused on Pandarus’s triangulated relation
with Troilus and Criseyde, as well as on Troilus’s mas-
culinity, particularly in relation to LOVESICKNESS. Femi-
nist critics have been divided into two main
camps—those who attempt to redeem Criseyde, deplor-
ing the misogynistic tradition behind more traditional
readings, and those who attempt to disavow her as a
creation meant to satirize. Still other readings have
examined the poem’s anticipation of “postmodern” con-
cerns in its complex construction of narrative voice.
See also CHIVALRY, “TESTAMENT OF CRESSEID.”
FURTHER READING
Chaucer, Geoffrey. Troilus and Criseyde. Edited by Stephen
A. Barney. New York: W. W. Norton, 2006.
Windeatt, Barry. The Oxford Guides to Chaucer: Troilus and
Criseyde. Oxford: Clarendon Press, 1992.
Regula Meyer Evitt“TROUBLE IN A TAVERN” (“TRAF-
FERTH MEWN TAFARN,” “TALE OF A
WAYSIDE INN”) DAFYDD AP GWILYM (14th
century) Possibly DAFYDD AP GWILYM’s most famous
poem, this CYWYDD describes the poet’s encounter with
a girl in an inn. Entering a tavern, he sees an attractive
young woman, buys the girl food and drink, and sets
up a tryst with her. Later in the night, he will visit her442 “TROUBLE IN A TAVERN”