Real Love In Chaucer's Troilus And Criseyde

Chaucer’s epic poem, Troilus and Criseyde, offers an ambiguous question as to whether or not Criseyde truly consents to the intimate relationship with Troilus. While Troilus falls instantly in love in Book 1, Criseyde falls in “love” gradually, if love is even what she is truly feeling. Although Criseyde eventually gives what seems to be vague consent, we cannot be certain if real love prompts her to do so or if there is another force at work. Evidence from the text tells us that it is not real consent or real love, but the ethical responsibility that Criseyde feels that she has for Troilus and Pandarus’s well-being after Pandarus threatens her with their deaths and pressures her in various other ways. The language throughout the poem insinuates

For example, in Book II, he tells her to “Doth what yow lest to make hym lyve or deye. / But if ye late hym deyen, I wol sterve” (II. 322-23). By doing so, he essentially gives Criseyde a choice: either she will give in and love Troilus in return, or Troilus and Pandarus will both die and she will be blamed for two deaths. Obviously, Criseyde would not want either of them to die because of her, so she hardly has a real choice. It is important to note that while Pandarus manipulates Criseyde into giving Troilus a chance, she only agrees to be nice to him, not to love him. When given the ultimatum, she decides that “Of harmes two, the lesse is for to chese; / Yet have I levere maken hym good chere” (II. 470-71). The hesitation in her answer and her decision to only compromise and not fully submit to what is being asked of her illustrates her reluctance to even consider Troilus as a possible suitor. More concerned with society’s views of her as a widow, it is clear that in this moment that her intentions of consenting to a relationship or any sexual act is slim to none. The actual moment of Criseyde’s supposed “consent” to the consummation, is concealed behind language suggesting male conquest as the main priority of the night. The question, “What myghte or may the sely larke seye, / Whan that the sperhauk hath it in his foot?”, is purposely placed in this area of the poem to set

For example, Pandarus’s behavior when he visits Criseyde’s room after the consummation is questionable as “With that his arm al sodeynly he thriste / Under hire nekke, and at the laste hire kyste” (III. 1574-75). For Pandarus to kiss his own niece in bed is strange, and also appears to be an act of violation in Criseyde’s private space. The narrator then goes on to describe Pandarus and Criseyde’s interaction by saying, “and with here uncle gan to pleye” (III. 1578). The word “pleye” drags along sexual and connotations, especially because the two are laying in bed. Although these actions are typical for his character and might not be a point of concern, it is definitely suggesting an image of sexuality along with an image of Criseyde’s vulnerability to male characters in the poem. Likewise, language is often more sexualized when it is speaking of Criseyde with men. When Criseyde refuses to take the letter from Troilus out of fear for her reputation, Pandarus “hente hire faste, / And in hire bosom the letter down he thraste” (II. 1154-1155). Even if what is actually happening is not meant to be sexual, the language used leaves room for ambiguity as Pandarus “thraste” a letter in her “bosom”. Similarly, the idea of ravishment is brought up in Book IV when Pandarus advises Troilus to “Go ravysshe here”, or