Hodges, Laura F.. “Sartorial Signs in Troilus and Criseyde.” The Chaucer Review 35(3):
223-259.
Each of the main characters has a signature garment that is worn at a significant point in the plot. Criseyde’s signature costume is her gleaming widow’s weeds. She is described in this outfit just before Troilus meets her, this helps the reader understand why Troilus falls in love with her. The initial description of Troilus shows him in his armor. This causes Criseyde to speak her famous line, ‘who yaf me drink.’ Other characters also have a signature garment. Ector has weapons, which signify his prowess, Diomede has a coat of armor signifying his lineage, and more importantly Pandarus wears a hood that represents his trickery.
Chaucer describes Criseyde in a ‘widewes habit large of samyt broun.’ There are two normal expectations from the reader of a medieval lady’s costume. She either has exotic or expensive clothing, or wears extremely old and drab clothing. Criseyde does not fall into either of those categories. Although Chaucer sets his story in ancient Troy, they wear clothing modern to the day. Through the phrase ‘widewes habit,” Chaucer makes Criseyde’s vulnerability and loss apparent by her widows garb. Another term important to the phrase is ‘large.’ This means that there is a great deal of fabric in the dress. This shows that Criseyde has wealth. Criseyde’s dress is made out of samyt, or samite, a lustrous silk fabric. In fourteenth century, samite was associated with trade in Asia and the Mediterranean. A great deal of samite of the day had silver or gold threads woven into it. Criseyde’s garment is a black, brown and is therefore simpler and not noticeably flashy.
Chaucer describes Criseyde as ‘aungelik,’ ‘thing immortal,’ and heavenyssh perfit creature.’ She is described as a being associated with celestial beings. Her dark garments show her mortality though, and “plainly mark her as an angel of mourning.” Troilus sees Criseyde in her state of vulnerability, alone and available for him to court her. Pandarus asks Criseyde to remove her widows ‘barbe,’ and allow herself to participate in more pleasurable aspects in life, such as love. The barbe mentioned here was a garment that had fallen out of fashion and, was only worn by nuns, widows, and older women. Pandarus wants Criseyde to rid herself of the many habits of widowhood, including: “modesty, chastity, faithfulness, and especially prudence.”
Chaucer provides no description of Troilus’s costume in the first book, all of the focus is upon Criseyde. Troilus is instead described as a peacock who’s feathers are limed. Hodges says, “The vision of Troilus’s brilliant feathers of peacock further underscores the dark and gleaming nature of Criseyde’s deception. The description of Troilus’s signature costume is described in Book II. Troilus is a portrait of a strong warrior, comparable to the god of battle, Mars. Troilus’s shield and sword signify his strength as a “valiant protector.”
Pandarus is associated with wearing a hood in Book II. Chaucer portrays Pandarus’s playing throughout the book. Chaucer writes, ‘Loke always that ye fynde / Game in myn hood.’ Pandarus plays the type of game that today we would look upon as being hoodwinked. The first mention of a hood is when Panderus tells Troilus to ‘don thyn hood.’ Troilus could be seen as a ‘second head’ under the hood, because he teams up with Pandarus to conquer Criseyde. They are playing a game together, partners in destroying Criseyde’s virtue.
Troilus and Criseyde exchange jewelry, each ring and stone has its own meaning. Criseyde gives Troilus a ring with a blue stone, this signifies chastity. Troilus possibly gives Criseyde his signet ring, set with a ruby. Troilus is associated with this ring throughout the poem, so it is part of his identity. Criseyde wears a brooch that is described as ‘gold and asure, / In which a ruby set was like an herte.’ The red and blue together represent constancy and passion. She gives this brooch to Troilus, signifying the gift of her heart. Troilus accepts the brooch as a symbol of Criseyde’s love. The brooch only foreshadows the despair that is to come.
In Book V, Criseyde no longer wears her widow’s barbe. Instead, her hair is dressed with gold thread and she dances like Pandarus always begged her too. The one problem is that she only takes this new lifestyle on after she begins her love affair with Diomede. Criseyde’s inconstancy is seen by her sudden change in appearance. Criseyde gives Diomede a brooch that Troilus had given her. This shows the ultimate deception. The reader sees her give away her heart twice, both supposedly for the first time since her widowhood. This makes the reader wonder how many times Criseyde has pulled the same trick.
This article got much deeper into detail about the costumes and Chaucer’s word choice during many scenes. Each characters costume helps the reader visualize the identity of the characters. Hodges states, “Costume rhetoric characterizes the players in this romance, interacts with aspects of setting, furthers the plot by highlighting significant moments and actions in the story, and works symbolically and metaphorically to say more than the images literally convey.”
Cassia Herndon 12/06
