54 pages • 1 hour read
Geoffrey ChaucerA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Prophetic dreams are a recurring motif throughout Troilus and Criseyde, illustrating The Tension Between Free Will and Divine Providence. Many of Chaucer’s poems employ dreams and dream visions to create ambiguity and doubt—with dream interpretation essentially paralleling the practice of textual analysis. Chaucer borrows a common medieval way of understanding dreams, having Pandarus caution Troilus that many dreams are merely the result of diet or external stimuli affecting the sleeping body, while Cassandra interprets the dreams as genuinely prophetic.
The first prophetic dream in Troilus and Criseyde occurs when Criseyde first learns that Troilus is in love with her. She falls asleep to the sounds of bird song, but the birds that appear in her dreams foreshadow the turbulence of her love affair:
[A]s she slep, anonright tho hire mette
How that an egle, fetherered whit as bon
Under hire brest his longe clawes sette,
And out hire herte he rente, and that anon,
And dide his herte into hire brest to gon (2.925-29).
The white eagle that tears her heart out seems to represent Troilus, as hunting raptors were often affiliated with the nobility. The transfer of her heart into the eagle’s breast represents how her heart literally belongs to him after she falls in love. However, the violence of this dream also hints at how turbulent, emotionally painful, and even deadly love can be.
The second significant dream in Troilus and Criseyde is the one that Troilus has after Criseyde has left Troy and returned to her father. In this dream,
[H]ym thoughte
That in a forest faste he welk to wepe
For love of here that hym these peynes wroughte;
And up and doun as he the forest soughte,
He mette he saugh a bor with tuskes grete,
That slepte ayeyn the bryghte sonnes hete (5.1234-39).
This image of Criseyde embracing a sleeping boar in the woods disturbs Troilus, as it implies romantic infidelity. While Pandarus interprets the boar as a symbol for Criseyde’s aged father, the prophet Cassandra informs Troilus that Diomede is affiliated with a boar due to his lineage as a descendent of Meleager. Cassandra’s interpretation is ultimately upheld by the text, as Troilus later finds physical proof that Criseyde has given a token of love to Diomede. These prophetic dreams suggest that the outcome of the narrative is the result of fate, as characters receive accurate forewarnings.
Stars in Troilus and Criseyde symbolize Criseyde as Troilus sees her. When Troilus first encounters Criseyde at the temple, she is wearing black clothing like a widow. His initial reaction to her is that he “[n]as nevere yet seyn thyng to ben preysed derre, / Not under cloude blak so bright a sterre” (1.174-75). Criseyde’s fair skin and blonde hair beneath her dark clothing is compared to the bright light of a star behind the cover of dark clouds. This description emphasizes Criseyde’s exceptional beauty.
Later, Troilus compares Criseyde to a star because she serves to guide his actions. He laments when she is gone,
O sterre, of which I lost have al the light,
With herte soor wel ought I to biwaille
That evere derk in torment, nyght by nyght,
Toward my deth with wynd in steere I saille (5.638-41).
This metaphor denotes that Criseyde protects him in the same way that a star helps sailors navigate the seas at night. However, once they are separated, Troilus feels lost.
The symbolic connection between Criseyde and the stars takes on additional symbolic meaning at the end of the poem when Troilus ascends into the heavens. Stars, being celestial objects, are closer to heaven and, according to medieval notions of astrology, influence the fate of all mortals born on Earth. By showing how Troilus’ love for Criseyde let him approach divinity, guiding him up toward the heavens, Chaucer hints that earthly love is only valuable when it helps steer a person toward the eternal love of God.
Descent and ascent are significant symbols for negative and positive development throughout Troilus and Criseyde. One of the major ways that this symbol appears is through allusions to the story of Thebes and the hero Amphiaraus. When Pandarus first comes to visit Criseyde, he finds her listening to the story of Amphiaraus, a warrior who foresaw his own death during the assault on Thebes and then, during the battle, fell into a chasm that unexpectedly opened beneath his chariot. This story later returns and gains greater thematic significance when Criseyde decides to leave Troy. She swears to Troilus that she will return, vowing,
[A]nd thow, Symois, that as an arwe clere
Thorugh Troie rennest doward to the se,
Ber witnesse of this word that seyde is here:
That thilke day that ich untrewe be
To Troilus, myn owen herte fre,
That thow retourne backward to thi welle,
And I with body and soule synke in helle! (4.1548-54).
By having Criseyde swear to sink down to hell if she betrays Troilus, Chaucer suggests that this descent symbolizes the ultimate negative development for a character.
Another way that descent and ascent appear in the poem is through the symbol of Fortune’s wheel. At the beginning of Book 4, Chaucer relates that Fortune will abandon Troilus “and on hire while she sette up Diomede” (4.11). The image of fate as a wheel suggests that every human life has times of both ascent and descent, with descent being associated with bad luck. The circular form of the wheel makes it inevitable that no one will experience good outcomes all the time for their entire life.
By Geoffrey Chaucer
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