I’ve always found Troilus and Cressida a difficult play. The characters all seem jaded, cynical, opportunistic, stuffily sanctimonious, lecherous or simply underhanded. Some are merely unpleasant, others are despicable, reprehensible. All seem self-serving, more concerned with their own gains and goals than that of the greater war around them.
It’s difficult to understand why it was listed as a “comedy” (although oddly placed in the folio, between the histories and tragedies).
Even Harold Bloom calls it “difficult” and “elitist” (although he later qualifies it as Shakespeare’s “most sophisticated” and “intellectualized” play). And Joyce Carol Oates called it, “…that most vexing and ambiguous of Shakespeare’s plays.”
UK reviewer, Charles Spencer, wrote of a 2008 production,
This is surely the bleakest, nastiest and most nihilistic of all Shakespeare’s plays… The whole drama is obsessed with disease and bad faith. The cynicism, and sense of exhausted contempt, undoubtedly makes the play seem extremely modern. It also makes it hard to sit through, and a relief to escape from.
There is no real honour among warriors as we see in Shakespeare’s history plays (Hector’s single moment of gallantry, allowing the exhausted Achilles to live, is marred by his immediate desire to kill a different, unknown Greek solider, solely for his shining armour).
There’s no redemption, either, just self-serving action, personal agendas, vengeance, adolescent lust, scheming, cynicism and politics. There seems no remorse, no guilt, no shame like you might find in Hamlet or Macbeth.* Hector, when he tells Troilus,
There is a law in each well-order’d nation
To curb those raging appetites that are
Most disobedient and refractory. (2.2.180-183)
suggests that laws, not conscience, not guilt, are all that controls humanity. This is the opposite of the message in Shakespeare’s other plays, which almost always explore the effect of shame and conscience on the protagonists and their actions. Continue reading “Troilus and Cressida”