Die derde destructie die daer nae van den Griecxsschen heeren gheschyede, daer dye vrome Hector van Troyen verslaghen was, die historie is in een ander boeck gheprent, die geheten es "die destructie van Troyen ende vander amoruesheyt van Troylus
ende Briseda." (Die historie vanden stercken Hercules, fol.
When I was first learning to read closely, I dealt with a number of texts that way: Paradise Lost, Troylus
and Criseyde, The Prelude, Yeats's Collected Poems, Eliot's The Waste Land and Four Quartets, among others.
The stage direction for the first is merely "Enter the show of Troylus
and Cressida," and Mercury says "Beholde how Troylus
and Cresseda / Cryes out on Loue that framed their decay" (Blr).
Each Troian that is master of his heart, Let him to field, Troylus
alas hath none....
Above Shakespeare's name, the first version reads, "The Historie of Troylus
(20) One might object that this stanza, if "sincere," would run counter to the fastidiousness Chaucer expresses in "Adam Scriveyn": "Adam scriveyn, if ever it thee bifalle / Boece or Troylus
for to wryten newe, / Under thy long lokkes thou most have the scalle, / But after my makyng thow wryte more trewe" (1-4).
(7.) According to Jack Zipes: "'Sleeping Beauty' ('Briar Rose') appears in the Catalan Frayer de Joy e Sor de Placer (fourteenth century), as 'Troylus
and Zellandine' in the French Perceforest (sixteenth century), as 'Sole, Luna, e Talia' in Il Pentamerone (1634-36) by Giambattista Basile, as 'La Belle au Bois Dormant' in Histoires ou contes du temps passd (1697) by Charles Perrault, and as 'Dornroschen' in Kinder und Hausmiirchen (1812-15) by Jacob and Wilhelm Grimm" (467).
Indeed, when the reader reaches chapters 6, 'Searching for Peace: John Dryden's Troylus
and Cressida or Truth Found Too Late', and 7, 'Romances of Reconstruction: The Postwar Marriage Plot in Rebecca Harding Davis and John William De Forest', the impression is one of lack of continuity, notwithstanding the civil war element common to both adjoining chapters.
Think of the secretive rooms, the hallways, the locked and unlocked doors of Chaucer's "Troylus
and Creseyda," or more recently, and almost contemporaneously with Bachelard, Auden's delightful About the House.
121-22) that ostensibly warns 'faire Dames' of the ravages of time, 'natures giftes soone weare and waste away', but in fact soon turns into a misogynist rant with Henryson's version of Cressid as the awful example: Hir comly corpes that Troylus
did delight All puft with plages full lothsomly there lay: Hir Azurde vaines, her Cristall skinne so whight, With Purple spots, was falne in great decay.
Then shall Troylus
vntrewe tremele the dayes For drede of a dede manne when thei here of speke And all the townys of Kente cast uppe the<>re kays The busshament of Brekyll there for to breke