Book Five
Notes
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5.1-14 Unlike books One through Four, Book Five lacks a proem, but the first two stanzas give a portentous overview of the coming action. In the Filostrato, Part Five begins with preparations for the exchange of prisoners.
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5.15-63 The passage closely follows Filo. 5.1-6, except that in the Filostrato, Criseida is not only sorrowful but angry. In these two stanzas, 5.15-28, the monorhyme (-mede, leede, etc.) of the first five lines resembles the virtuoso performances of Chaucers's French contemporaries Froissart and Machaut (but not Boccaccio's rhyme scheme). The effect is unique in the poem.
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5.42 Manuscripts Cp and H1 have crye; other principal manuscripts and modern editions have drye, which makes more sense in the context.
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5.64-88 The passage follows Filo. 5.10-13.
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5.89-105 In both poems, Diomede cunningly takes note of the two lovers. In Boccaccio's he is taken with Criseida (5.13), and then the scene shifts to Troilo at home lamenting. In Chaucer's, seeing the turmoil in Troilus, Diomed pointedly takes Criseida's rein and physically leads her away.
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5.190-217 This passage closely follows Filo. 5.14-16. In the next long section (5.218-686), Chaucer follows the general lines of Boccaccio's Part Five, often approaching Boccaccio's wording for a few lines and then departing again.
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5.212 Jove bound Ixion to a wheel as punishment for his attempt on Juno.
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5.277 Manuscript testimony is garbled. The Cp line, followed here and in Root, is short one syllable. Fisher has woned (without support from principal manuscripts); other modern editors follow the J reading, "Al estward, as it wont is for to doone."
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5.382 This is the reading of Cp, a G-group manuscript. J, a B-group manuscript, has qualin. Rawlinson, which Root identifies as the only manuscript to belong to group B throughout, has qualine. Other principal manuscripts have qualm, and all modern editions except the present one adopt that reading. Robinson cites the MED, which defines qualm as the cry of a raven but cites only this line, a circular argument. Editors have preferred the monosyllable on metrical grounds, and the cadence (an extrametrical syllable at the caesura) is rare in Chaucer but not inconsistent with his metrical system. And qualyn is both grammatically appropriate and onomatopoetic.
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5.451 Pietous is the Cp reading, followed here and by modern editors except Fisher, who follows Cl, G, and H3 with pitous. J and H1 have pietus. The two words overlap in meaning, so the variants are less substantive than they may appear. (See note to 4.246.)
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5.638-44 In the Filostrato, Troilus' song takes up five stanzas (5.62-66), apostrophizing Criseida and Amor, lamenting his fortune, and inviting death.
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5.645-59 The passage follows Filo. 5.67-69.
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5.680-93 In these two stanzas, Chaucer follows the last stanza of Boccaccio's Part Five (5.71) and the first stanza of Part Six.
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5.728 This significant line has no parallel in the Filostrato. It does closely resemble the plight of Constance in The Man of Law's Tale: "She hath no wight to whom to make hire mone" (Canterbury Tales, II.656).
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5.729-77 This passage, including Criseyde's soliloquy and the mention of Diomede, follows Filo. 6.4, 7-8, except that Filo. 6.8 describes him only as a new lover, not as a schemer.
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5.744 The three eyes focus on the past, the present, and the future.
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5.784 Compare Criseyde's attitude in Book Two: "He which that nothyng undertaketh / Nothyng nacheveth" (2.806-07).
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5.799-840 The sequence of description, with Criseyde bookended by the two men, is from Benoit's Roman de Troie. Boccaccio's Part Six closes with a similar physical description of Diomede alone (6.33). In the same section, the Filostrato emphasizes, as Chaucer never does, that Diomede feels the assaults of love for Criseyde (6.11, 6.13). In both poems, Diomede is cunning. In Boccaccio, cunning and love are compatible, and Diomede is more nearly a rival; in Chaucer's he is more nearly a villain.
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5.855-942 The passage follows Filo. 6.12-25, but with a few significant contrasts (see notes).
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5.870-75 In the corresponding stanza of the Filostrato, Criseida fails to perceive his cunning but answers him as Love dictates; she pierces his heart with pain but also gives him hope (6.13).
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5.904-10 In the Filostrato, Diomede tells Criseida that he had heard of her and had offered himself to Calchas as mediator of the exchange (6.19).
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5.953-58 The stanza follows Filo. 6.26-27.
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5.967-91 The passage follows Filo. 6.28-31.
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5.995-1001 Chaucer adds Criseyde's promise to speak tomorrow. In Boccaccio (6.32), Diomede is encouraged by the vaguer promise of the previous stanza.
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5.1013 The taking of the glove is not in Boccaccio.
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5.1037-43 The gift of the horse is not in the Filostrato; the brooch surfaces later (8.9) but the gift is not reported here.
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5.1050 The note is not in Boccaccio, whose Part Six closes with the cooling of Criseida's love for Troilo.
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5.1100-1267 For the most part, this long passage follows, almost stanza for stanza, Filo. 7.1-31, except that in Boccaccio, the boar tears out Criseida's heart, which seems to give her pleasure; there is no kissing (7.23-24).
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5.1233-74 The next six stanzas are missing from Cp. I follow Cl, as do other modern editors except Root and Windeatt, who combine Cl and J.
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5.1317-1421 Troilus' letter; in the Filostrato it is almost twice as long (6.52-75). The two letters cover similar ground, but with few close verbal echoes; Troilo's letter focuses on his fears and sufferings and includes an extended reminiscence in pastoral images (7.62-66) missing from Troilus' letter.
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5.1423 In Filo. 7.76, Criseida's reply is awaited in vain for many days.
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5.1450-1519 Cassandra's interpretation of the dream is not in the Filostrato.
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5.1485-1510 The next four stanzas summarize the Thebaid of Statius.
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5.1498 (following) Between lines 1498 and 1499, the principal manuscripts have these two six-line stanzas summarizing the Thebaid in Latin. The lines in English translation are as follows.
The first links fugitive Tideus with Polynices;
The second tells of the ambush of Tideus' embassy;
The third sings of Haemon and the hidden seers;
The fourth has the seven kings together toward the battle;
In the fifth the Lemnian furies and the serpent are narrated;
In the sixth, the pyre of Archemoros and the games are read of.
The seventh takes the Greeks to Thebes and the seer [Amphiarus] to the shadows;
In the eighth fell Tideus, life's hope of the Pelasgians;
In the ninth, Hippomedon with Parthenopeus dies;
In the tenth, Capaneus, struck by a thunderbolt, is overcome;
In the eleventh, the brothers [Eteocles and Polynices] slay each other with wounds;
The twelfth tells of weeping Argiva and the fire. -
5.1520-33 In Boccaccio's poem, Cassandra learns of Troilo's plight from Deifebo; Troilo overhears her criticize Criseida, and lashes out at her, saying that she hates Criseida because her blood is not royal (7.99).
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5.1562-86 Except for the characteristic narrative appeal to source materials, Chaucer here begins to take up the matter of Part Eight of the Filostrato; this passage corresponds to 8.1-5.
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5.1589 At this point, Boccaccio's Criseida has apparently written several times to Troilo (Filo. 8.5).
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5.1590-1631 Criseyde's letter is Chaucer's addition.
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5.1598 Cl has pitee, but Fisher joins other modern editors in following the Cp reading. Again (see notes to 4.246 and 5.451), pitee and pietee overlap in meaning.
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5.1653-54 Despite Lollius, the lines are from Filo. 8.8, but Boccaccio's account is less vivid, more matter-of-fact.
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5.1661 The brooch appears in Filo. 8.9, in more detail; it was a clasp for the cloak of the grievously wounded Diomede.
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5.1674-1764 The passage follows, almost stanza for stanza, Filo. 8.12-26.
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5.1772-1785 Here Chaucer's narrator appears to launch a disclaimer reminiscent of the Clerk's for the story of Griselde (Canterbury Tales, IV, 1142-75). At this point, as Part Eight ends, the Filostrato launches a forehand diatribe: youths, check evil passion: if you read the story correctly, you will not trust women (8.29); a young woman is fickle, desires many lovers, and cares nothing for virtue or reason (8.30); noble women are disdainful beasts (8.32); the perfect lady wishes to love and be loved, and knows what to avoid, but but beware of them because they are older, and age diminishes worth (8.32).
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5.1807-27 This crucial scene is not in the Filostrato. Chaucer takes it from Boccaccio's Teseida, the primary source of his own Knight's Tale. The scene is more appropriate to Boccaccio's version of the Palamon-Arcite story than to Chaucer's, where it is important that the ethical and political concerns of the poem be worked out on the earth. The scene is more appropriate to Chaucer's version of the Troilus-Criseyde story, whose abiding psychological concerns exceed the capacities of the characters, than to Boccaccio's version, where the end of the affair is the end of the poet's interest in the matter.
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5.1809 Cp, Cl, and all but two other manuscripts have seventhe. J and R (both type B) have "viij spere" and "viijthe spere." All modern editors emend to eighthe. The Teseida (11.1) has urtava (ottava), meaning eighth. A great deal of commentary has been written on the line, some of it unnecessary. Editors justify eighthe mainly on several grounds: the stanza closely resembles the parallel passage in Boccaccio; the scribal process viijthe > vijthe > seventhe is understandable; and seventhe would put Troilus in the sphere of Saturn, which makes less sense than the (eighth) sphere of the fixed stars. Also, counting this way, outward from the earth, is consistent with line 3.2, which places Venus at the third sphere. On the other hand, editorial notes do express reservations. Medieval reckoning is inconsistent: if one counts outward from the earth, then the eighth is the sphere of the fixed stars; if inward from the primum mobile (see the note to line 2.681), then seventhe would put Troilus at the sphere of Venus or of Mercury (depending on whether the primum mobile is sphere 1 or point 0), and eighthe would put him at Mercury or the moon. Venus would be ironically apt given the plot, and the moon would fit as the first point of vantage above the sublunary world of earth and mortality. There is, however, a strong piece of evidence within this very stanza. From his temporary vantage, Troilus sees "with ful avysëment / The erratik sterrës herkenyng armonye" (5.1811-12). In other words, he looks down and sees the planets--apparently all of them--beneath him, and then (5.1814-15) he looks down farther to "This litel spot of earth." And the only place from which he could do all this is the sphere of the fixed stars.
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5.1827 Mercury (Greek Hermes) is the messenger of the gods and the guide of souls to the afterlife.
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5.1856-57 Chaucer's friend John Gower wrote one major narrative poem in English, one in French, and one in Latin. Chaucer threw in his lot with English from the beginning of his public career. Ralph Strode, also Chaucer's friend, was a logician, fellow of Merton College, Oxford.