Journal Name:
- İstanbul Üniversitesi Tiyatro Eleştirmenliği ve Dramaturji Bölüm Dergisi
| Author Name | University of Author | Faculty of Author |
|---|---|---|
Abstract (2. Language):
This paper investigates the problems of contemporary Feminist critics in dealing with William Shakespeare‘s Troilus and Cressida. This play is sometimes classified among the ―problem plays‖ because it presents great many challenges to scholars and directors. Shakespeare seems to tell us about the war in Troy and a love story of Troilus and Cressida; yet what we actually see is a very cynical account of the war and the love affair. All the decadence, cynicism, and angst in the play seem to be caused, at least in part, by Cressida. She is expected to betray ―young and faithful‖ Troilus, her paramour, and is seen by both the Greeks and Trojans as a ―whore.‖ So she fulfils these predictions: Cressida is made to go to the Greek camp, and there unprotected and alone, she betrays Troilus.
Naturally many critics put the blame on Cressida: she is seen as a representative figure of decadence in the social order brought about by war. However, my contention is that she becomes a ―whore‖ because everyone calls her a ―whore‖ and expects her to become one. With the help of recent Feminist criticism on Shakespeare I have tried to show how the league of men in the play and in the critical community alienate Cressida and force her into betrayal. Contemporary gender studies enabled me to look at her character in time of crisis and see the problems of gender in the play, rather than regard it merely an anti-feminist play by Shakespeare.
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Abstract (Original Language):
William Shakespeare‟in, Kısasa Kısas ve Yeterki Sonu iyi Bitsin adlı oyunlarının da arasında bulunduğu, üç “karanlık komedya” ya da “problem oyunları”nda “insanı en çok hayrete düşürünenin” Troilos ile Kressida38 olduğunu söyler Mina Urgan Shakespeare adlı kitabında. Kitabında o güne dek yazılmış en önemli İngiliz ve Amerikalı Shakespeare uzmanlarının görüşlerini özetleyen Urgan, önce oyunun sorunlarının en başında geleninin “oyunun olumsuzluğu ve kötümserliği”dir der (87). Urgan‟a göre olumsuzluğun ve kötümserliğin nedeni aşk ve savaş üzerine kurulu gibi duran bu oyunun aslında “aşkın timsali olan olan idealist” Troilos‟u “kahpe” Kressida‟nın hemen mahvetmesi ve “savaşı temsil eden onurlu He[k]tor‟un [Akhilleus] pusuya düşürüp kalleşce” öldürürülmesi üzerine olmasıdır (87).
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