- Tapa blanda: 256 páginas
- Editor: Penguin Classics (29 de enero de 1987)
- Colección: New Penguin Shakespeare
- Idioma: Inglés
- ISBN-10: 0140707417
- ISBN-13: 978-0140707410
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
Troilus And Cressida (New Penguin Shakespeare) (Inglés) Tapa blanda – 29 ene 1987
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Reseña del editor
The Arden Shakespeare is the established scholarly edition of Shakespeare's plays. Now in its third series, Arden offers the best in contemporary scholarship. Each volume guides you to a deeper understanding and appreciation of Shakespeare's work.
Biografía del autor
William Shakespeare was born to John Shakespeare and Mary Arden in late April 1564 in Stratford-upon-Avon. He wrote about 38 plays (the precise number is uncertain), many of which are regarded as the most exceptional works of drama ever produced, including Romeo and Juliet (1595), Henry V (1599), Hamlet (1601), Othello (1604), King Lear (1606) and Macbeth (1606), as well as a collection of 154 sonnets, which number among the most profound and influential love poetry in English. Shakespeare died in Stratford in 1616.
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If you want to read the original text, I would recommend Stephen Barney's edition. Barney is the editor who made the critical edition for the Riverside Chaucer, and his Norton Critical edition includes ten excellent critical essays in addition to Chaucer's poem, Giovanni Boccaccio's "Il Filostrato" (Chaucer's source), and Robert Henryson's "Testament of Crisseid." Shoaf's edition is also good, but twice as expensive, and it does not have as much contextual material. Coghill is a fine translator of Chaucer, and for the reader who does not want to tackle the Middle English he will provide an adequate experience. But beware: His smooth couplets sound more like Alexander Pope than the vigorous medieval writer he is translating.
Synopsis—After seven years, the Trojan War is at a stalemate. Inside the walled city of Troy, young Troilus loves Cressida, but she has defected to the Greeks. Troilus persuades her uncle Pandarus to intercede on his behalf. Meanwhile, Hector of Troy issues a challenge to the Greeks, daring any one of their champions to face him in single combat. The one he wants is their most fearsome fighter, Achilles, but he’s sulking in his tent. The Greek commander Ulysses offers up the “blockish” Ajax hoping it will inspire Achilles to action. It doesn’t. Once again the Greeks offer to abandon the siege if Helen is returned but, though a Trojan prophetess predicts disaster for Troy if the offer is refused, the Trojan leaders decide to continue the fight. In Act III, Pandarus is successful in returning Cressida to Troy, where Troilus and Cressida vow love to one another. Their union is only temporary, as Cressida’s father, who has “incurred a traitor’s name,” seeks to make amends by offering his daughter to the Greeks in exchange for a Trojan leader held captive. In Act IV, they consent so Cressida returns to the Greek side once more. Only this time she falls for one of their commanders, Diomedes, despite her vows of fidelity to Troilus. Hector and Ajax meet in battle in single combat, but after a few blows they stop on account of kinship. In Act V, Ulysses allows Troilus inside the Greek camp so he may see Cressida again. Once there, he sees how faithless Cressida has been, having taken up with Diomedes. The next day in battle, Troilus and Diomedes fight one another but without serious injury to either. At the same time, Hector slays Achilles’ intimate friend Patroclus. Achilles is enraged, but fearful of facing Hector alone. He orders his minions to surround the disarmed Hector and slaughter him. Achilles then takes full credit by instructing them to spread the word that he alone faced Hector and killed him in combat. What a guy. Seeing their best fighter has been slain, the Trojans retire from the field as the play ends. And that, Shakespeare seems to be suggesting, is how heroic legends like Achilles are born.
Which brings us back to the play’s introduction by Jonathan Crewe, where he writes: “We tend to think of the 20th century as a time of unprecedented historical disillusionment. Repeated, searing experience of military catastrophe, genocide, political corruption, abusive sexual and racial politics, and collapsing ideals have resulted in forms of disbelief that have often been regarded as belonging peculiarly to the 20th century. Yet Shakespeare’s play demystified the Trojan War with a critical energy that the 20th century barely equaled.” Is it any wonder then that “Troilus and Cressida” while neglected for nearly 300 years has in recent times come into its own? Written in 1603, it seems William Shakespeare’s “Troilus and Cressida” is as relevant as today’s headlines.