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Benson, C. David. Chaucer’s Troilus and Criseyde. London: Academic Division of

Unwin Hyman Ltd., 1990.

In Chaucer’s Troilus and Criseyde, Benson overviews key points of information about Chaucer’s text. Benson discusses that scholars have discovered where Chaucer found his inspiration. He brings up the many similarities and differences between the texts. Chaucer drew from many great authors, but Boccaccio was his greatest inspiration. Benson goes on to discuss the manner in which Chaucer chose to write, and the styles he used. He than offers some history of ancient Troy so Chaucer’s setting can be better understood. Benson follows this with an analysis of the stories main characters. He than tries to discover what kind of love Chaucer meant to portray. Benson than tries to unravel the added complication of the role of fortune within the text. He concludes with discussing the Christianity that is woven throughout the text. Benson covers many topics quite thoroughly in a relatively small book.

The source for Chaucer’s poem was Boccaccio’s, Il Filastrato. Boccaccio can be credited for shaping the story as we know it today. Boccaccio also changed Benoît’s version of the name Briseida, to Criseida. Boccaccio also adds the important character Pandaro, or Pandarus. An idea the was interesting, was that Boccaccio gave Chaucer inspiration to write more passionate, sexual scenes. His other works do not contain this eroticism.

Chaucer uses golden rhetoric in Troilus and Criseyde, by expanding on Boccaccio’s style in Il Filastrato. In the Middle Ages there “were three levels of literary style: an ornate style, an idiomatic low style, and a middle style somewhere between these two extremes” (Benson 40). Chaucer’s text contains all three of these styles. Chaucer allows himself to discuss all sorts of subjects, for example pagan or profane subjects. He knows that his reader understands him. Chaucer believes in his reader to be able to read and understand his text.

In Boccaccio’s Il Filastrato, Troy is merely a location in which a love affair is taking place. Chaucer depicts a realistic backdrop that becomes real to the reader. Chaucer’s Troy has architecture and furnishings from fourteenth century England. Chaucer incorporates the real events of the Trojan War into his text. He shows the trials that the war brings to the characters. Chaucer mixes ancient Troy and modern London to form a unique setting for Troilus and Criseyde.

Chaucer follows Boccaccio’s example and writes a story that focuses more on character instead of plot. He tries to depict real people, with real problems. Each of Chaucer’s characters is unique. They could not be easily changed with a stereotypical character. Pandarus is described as Chaucer’s most superficial character, but at the same time the most entertaining and lively. Benson states “Despite the efforts of some to establish him as the hero of the poem, Troilus is usually slighted by critics” (Benson 95.) Criseyde is the most fascinating character who causes great complexity throughout the plot. The last and often forgotten character, is the narrator. He plays no part in the plot, e only shows emotional involvement. It is often hard to distinguish him from Chaucer himself.

There is a great deal of debate as to what type of love is in Troilus and Criseyde. Benson says, “Some celebrate Troilus as a joyous hymn to human sexuality, others thunder that it is a dire warning of the deadly wages of lust, while most, in the usual academic fashion, adopt some compromise view” (Benson 120.) Benson argues that the poem does not offer one consistent attitude towards Troilus and Criseyde’s romance. Chaucer creates a more complex romance than those before him. Most writers display one consistent view of love, Chaucer does the opposite and offers numerous viewpoints.

Chaucer draws from Boethius’ Consolation of Philosophy, to bring in the idea of fortune. Benson says, “Fortune appears in many guises in Troilus (serious, comic, decorative, hostile and benign) and is capable of various interpretations” (Benson 149). Boccaccio mentions fortune but does not fully develop the idea. Chaucer expands upon fortune and makes it a significant figure. Although fortune is very important to the text, Chaucer does not follow the Consolation in trying to transcend the earth.

Boccaccio’s tale was completely secular, and did not add a Christian lesson. In most versions, the only moral is that women cannot be trusted. Chaucer makes the story have complex levels of moral and Christian meaning. The story could be viewed as pagan, while the narrator telling the story is Christian. This explains the Christian ending to the text.

Benson’s, Chaucer’s Troilus and Criseyde, covers a great deal of material in a very succinct manner. It was enjoyable to read because he got directly to his point, and did not repeat himself. Benson covered many ideas that I read about in my articles. It was nice to see the ideas from a different viewpoint, that was not judgmental towards others views. I enjoyed some of the articles more because they offered a radical viewpoint and expanded just on one idea. Benson’s book is wonderful in that it covers so many topics, though.

I felt that I learned a great deal about the relationship of Boccaccio’s Il Filastrato, to Chaucer’s later Troilus and Criseyde. Throughout the book Benson showed where Chaucer found inspiration from Boccaccio’s text and where Chaucer deviated. Chaucer was truly a revolutionary author. He drew from previous artists works, but mixed his own modern day viewpoints to create a truly unique story of Troilus and Criseyde.

Cassia Herndon 12/06