Book Two
Notes
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2.14 In other words, "I'm only the translator," maintaining the fiction of Lollius as Latin source when the real primary source is Boccaccio's Italian poem. Chaucer's failure to credit a contemporary source such as Boccaccio is not unusual for the time. Classical authors are generally acknowledged, contemporary authors often not. Chaucer elsewhere cites Dante, and his Clerk in the Canterbury Tales drops Petrarch's name, but Chaucer makes substantial use of contemporaries like Boccaccio, Machaut, and Froissart without attribution. It is reasonable to suppose that many in Chaucer's audience would have recognized these presences, and it is useful to look at Chaucer's poetry through the lens of modern parody theory. In other words, Troilus and Criseyde is not simply an imitation or a mockery of the Filostrato but exists in dialogue with Boccaccio's poem.
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2.64-69 In Ovid's Metamorphoses, Book VI, Tereus wed Procne under the ill omen of the Furies, who prepared their couch, and of the screech owl, sitting on the roof of the bridal chamber. Later, Tereus raped Procne's sister Philomela and cut out her tongue. In revenge, Procne kills her son Itys; she and Philomela cut up and cook the body and serve it to Tereus, and after he has eaten, Philomela throws Itys' head at him. Enraged, he chases them, and the three are changed into birds: Procne the swallow, Philomela the nightingale, and Tereus the crested hoopoe. Chaucer's reference to the episode in this passage is incidental, but the portentous presence of the Furies in Ovid's story recalls Chaucer's invocation of Tisiphone at the beginning of Book One of his poem.
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2.77 Janus: Roman god, guardian of entryways; his two faces looked before and behind.
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2.84 The story of the siege of Thebes is told in the 12th century Roman de Thèbes, drawn from Statius's 1st century Latin Thebaid. The fate of the besieged Thebans would be of obvious interest to the besieged Trojans.
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2.86 This is the Cp. reading, almost certainly different from Chaucer's line but adopted here for that very reason: one way to gain perspective on the poet's metrical system is to watch what happens when it breaks down. Throughout the poem, this edition now and then adopts similarly unlikely Cp readings for the same reason. (Line 2.86 is discussed in the introductory section on the text of the edition.)
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2.99 The unexplained shared laugh over Pandarus' love life is characteristic of Chaucer's handling of Pandarus, which remains ambiguous and coy throughout the poem. (See 1.672, note.)
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2.103 The red letters would mark a chapter heading in the manuscript.
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2.105 Amphiaraus, a seer in Statius but an archbishop in the Roman de Thèbes, was one of the seven against Thebes. He went to war at the insistence of his wife, reluctantly because he foresaw the outcome.
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2.110 A barbe (beard), typically worn by widows, is a cloth covering the mouth and chin and extending over the breast. Manuscripts J, H3, and G have wympel (a garment covering head, neck, and chin, typical of a nun's habit), and Root adopts this reading. Cp, Cl, H1 and the other modern editions have barbe.
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2.128 The Cp. manuscript reading is what bet than swych fyve I nay ywys (with no punctuation). Root renders the line, "What! bet than swiche fyve? I, nay, ywys."; other modern editors have similar readings but with the question and exclamation marks in different places. The poem contains scores of similar lines, of varying degrees of ambiguity, particularly in patches of dialogue.
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2.232 Roman goddess of wisdom and civilization, counterpart of the Greek Athena.
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2.274-87 These two stanzas closely follow Filo. 2.36 & 44.
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2.316-20 These lines follow Filo. 2.46. In place of Pandarus' long speech here, the Filostrato has an exchange between Pandaro and Criseida, in which she asks to be left alone (2.51).
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2.393-420 The passage follows Filo. 2.54, 47, & 48, but where Criseyde bursts into tears at Pandarus' diatribe on old age, Boccaccio's Criseida ponders the subject, telling Pandaro that he speaks the truth (2.55).
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2.416 Her mention of the Greek warrior Acchiles, who is not in the parallel passage in Part Two of the Filostrato, is curious, particularly in view of the manner of Troilus' death in Book Five.
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2.456-76 Chaucer's addition. Boccaccio's Criseida is sly in the sense that she seems to welcome the intrigue and her role in it. Chaucer's Criseyde seems mostly to use her wits to try to keep her head above water.
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2.501-67 The passage follows Filo. 2. 55-64, sometimes closely.
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2.618 The city gate is named for Dardanus, ancestor of King Priam.
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2.673-69 Boccaccio says otherwise: his Criseida has been debating whether to become involved, but when she sees Troilo from her window, her indifference vanishes and she is suddenly enthralled (2.83).
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2.681 The meaning of hous (house) is the same as in modern astrology; Venus's position, favorable to love, is the first arc segment above the western horizon.
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2.701-812 Criseyde's long monologue follows the general course of her thoughts in Filostrato 2.69-78, and in each poem, the monologue ends with a stanza describing her continued vacillation. At the beginning of the stanza, though, her inclinations is different. Boccaccio's Criseida tells herself to leave such loves to those who have the passion for them (2.78); Chaucer's Criseyde concludes, in effect, "Nothing ventured, nothing gained" (2.806-08).
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2.746-63 In the Filostrato, Criseida's thought process is somewhat different. She reminds herself that she isn't getting any younger and that no one will want her if she grows old (Filo. 2.70-71); but she argues that now is not the time for a husband (2.73) and that Troilo, being of higher rank, will abuse her (2.76).
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2.807-08 Compare this with Diomede's later resolve (5.783-84).
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2.816 The three names are Chaucer's addition to the story. The name of Antigone would have evoked the story of Thebes; the other two names have no clear source or relevance.
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2.827-75 Antigone's song suggests the lyric forms of Chaucer's older French contemporary Machaut, and seems to tug at Criseyde's inclination at the end of her earlier monologue (2.806-08). There is no parallel passage in the Filostrato.
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2.925-31 Criseyde's dream is not in the Filostrato. The exchange of hearts between lovers would have been a familiar image from lyric and romance.
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2.1044-1155 The passage follows Filo. 2.93-113, sometimes closely.
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2.1095 Modern clock time (with the day divided into 24 equal hours) was beginning to reach Europe in the late fourteenth century, but time was still colloquially told by canonical hours, marking prayer intervals. Prime is roughly 9:00 a.m. (though originally it marked the prime meridian, noon). The day was divided into two twelve-hour halves by sunrise and sunset, so that in northern Europe, each hour of daylight was much longer in summer than in winter.
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2.1154-55 In the Filostrato, Criseida thrusts the letter into her own bosom (2.113).
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2.1212-39 The passage follows Filo. 2.120 and 2.128. Criseida's letter occupies stanzas 2.120-27; Chaucer leaves out the text of Criseyde's letter.
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2.1336-41 The lines closely follow Filo. 2.131.
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2.1365 Pandarus takes charge, arranging and stage managing a first meeting between Troilus and Criseyde at Deiphebus' house (the arrangements occupy the rest of Book Two) and a second meeting at his own house, leading to the consummation scene in Book Three. Boccaccio's Criseida plays an active part in arranging a first meeting (2.143) at her house, and the consummation scene takes place there (Filo., Part 3).
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2.1467 The account of Poliphete and his threatened suit provides a pretext for the meeting between Troilus and Criseyde--a pretext not needed in the Filostrato, where Poliphete does not appear.
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2.1474 To Chaucer's age, these were known as traitors whose actions led to the fall of Troy.
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2.1513-19 In the Filostrato, Criseida will wait in her house for Troilo while her women go to the festival (2.143); Part Two of the Filostrato ends here.
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2.1555-62 (And see 2.1724, "Al innocent of Pandarus entente . . .") In Boccaccio's poem, both Troilo and Criseida know what's happening. In Chaucer's poem, Troilus is vaguely aware of events and surroundings, but only Pandarus really knows anything.
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2.1595-96 The narrator's urgency is a recurring note in the poem. Here Chaucer has expanded an account that his narrator claims to shorten. For the last 400 lines of Book Two, there are no parallel passages in the Filostrato.