Troilus and Cressida

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Troilus and Cressida , act V. Scene 2. Engraving after a painting by Angelika Kauffmann

Troilus and Cressida ( Early Modern English The Historie of Troylus and Cresseida ) is a drama by William Shakespeare . It is about the love of Troilus, the son of King Priam, for Cressida, the daughter of the priest Kalchas . The piece is set in Troy at the time of the Trojan War . It was entered in the Stationers' Register in February 1603 and first appeared in print as a quarto in 1609 . Early performances are not documented. The story from Homer's Iliad was known to Shakespeare in the form of Chaucer's poem Troilus and Creseyde from 1385. Together with all's well that ends well and measure for measure , it is counted as one of the so-called "problem pieces" according to the definition of the literary scholar Frederick S. Boas.

action

The story of Troilus and Cressida takes place in the Trojan War . Troilus is the youngest son of King Priam of Troy , Cressida the daughter of the Trojan priest Kalchas , who switched to the opposing side because he foresaw the fall of Troy. The Trojans have been fighting the Greeks led by Agamemnon for seven years because Paris , Troilus' brother, kidnapped the beautiful Helena . Troilus confesses to Cressida's uncle Pandarus his love for Cressida; When the Trojan heroes return from battle at the earliest opportunity, Pandarus explains to his niece that none of them can take on Troilus. So he tries to put Troilus in a better light, because he wants to couple Troilus with Cressida. In the Greek camp, Agamemnon consults with Nestor and Ulysses (English name for Odysseus ), among others, about the crisis of the Greek army, which is caused by the fact that Achilles does not take part in the fight, but stays in the tent with his friend Patroclus . The Trojan hero Hector has offered to fight a Greek one-on-one, and the Greeks choose Ajax for that fight.

In Troy, Pandarus brings Cressida to Troilus; the two hug each other and swear eternal love and loyalty to each other. But everything turns out differently than planned. Antenor , a Trojan military leader, is captured by the Greeks. Kalchas makes Agamemnon swap Antenor for Cressida. Agamemnon and the Trojans agree and Cressida leaves Priam's city with the promise to remain loyal to Troilus.

In the Greek camp, at Ulysses' suggestion, Cressida is kissed by all Greek leaders, but not by Ulysses himself, who afterwards declares that she is a virtuous woman. Ajax and Hector fight for a while; but since they are relatives, they end the fight by mutual agreement in a draw. Following the festival that took place in the Greek camp, the Greek general Diomedes went to Cressida, Ulysses and Troilus followed him secretly after Troilus had bribed him. Cressida promises Diomedes to wait for him in the tent until he comes back. Troilus, experiencing the infidelity of the loved one from outside the tent, is deeply hurt. Just because he is being held back by Ulysses does not show himself. When Hector prepares for battle the next day, his wife Andromache and his sister Kassandra warn him in vain; both have had dreams in which Hector's death was prophesied. In the fighting, Patroclus fell on the side of the Greeks; then Achilles enters the fight. When Hector had already taken off his helmet towards the end of the conflict, he was surrounded and slaughtered by Achilles' myrmidons . The drama ends with a still deeply injured Troilus who blames the matchmaker Pandarus for all the disgrace he had to endure with the unfaithful Cressida.

Literary templates, cultural and political references

The siege of Troy was one of the popular literary subjects in England around 1600 and was one of the most important events in world history for Shakespeare's contemporaries. An abundance of allusions in Shakespeare's oeuvre shows that Shakespeare could start from the general awareness of this narrative. In addition, two no longer extant dramas on this subject are known from the records of Philip Henslowe .

Translations of the Iliad circulated in Elizabethan England in Greek, Latin, and French translations; there was also an English version of George Chapman's first part of the Homer edition . Shakespeare possibly knew the Iliad translation of his contemporary and poet rival Chapman and probably used it for some details of his work, but unmistakably drew on the medieval and post-medieval tradition in essential areas.

The two storylines of Troilus and Cressida , the love story about the title characters and the plot of war mainly about Hector, Ajax and Achilles, have completely different origins. While the act of war is of ancient origin and is part of the core of the Troy saga in the Homeric epics, especially the Iliad, the story of Troilus and Cressida belongs to the narrative of the Middle Ages.

It does not come from Greek mythology, but is one of the narrative motifs that were invented when the popular story was told in the Middle Ages. Handed for the first time this additional history as an adjunct in medieval Benoît de Sainte-Maure in his de Roman Troie , of the court of King Henry Plantagenet as a kind of mirror for princes was written. For his part, Benoît used stories of Dictys Cretensis and Dares Phrygius from the late Roman period, which entwined with the Iliad material. The Roman de Troie was a source for Boccaccio's "Il Filostrato", which in turn was the main source for Chaucer's poetry "Troilus and Criseyde" (around 1380); Shakespeare knew Chaucer's works very well. Other versions of the material, such as John Lydgate's “Troy Book” and Caxton's “Recuyell of the Historyes of Troye”, were in circulation in England at the time of Shakespeare and were probably known to him.

In the traditions of Middle English literature, the material was presented in a courtly-knightly form on the one hand, but increasingly transformed in a negative-critical way on the other. Especially the image of Cressida changed in the course of the 16th century, so that at the turn of the century Troilus and Cressida had become included in fidelity and falsehood and the name Pandarus was even used as a synonym for coupler ("pander") .

Shakespeare's design of the events and characters is accordingly in a longer tradition of revaluing and especially devaluing the narrative. Almost all characters prove to be unworthy of their reputation against the background of their legendary reputation. In his drama, however, Shakespeare does not simply intensify these negative tendencies, but rather combines contradicting characterizations in order to make his dramatic characters interesting and currently accessible for the contemporary audience.

The critical portrayal of the world of the Trojans in the drama can also be understood in the political context of the Elizabethan period as an expression of Shakespeare's skepticism about the imperial claims of early England, since Troy had positive connotations for contemporaries as the ancient seat of power in England at that time.

Jan Kott sees the conflicting parties in what he sees as a highly political play as an allusion to the long struggle between the great powers England and Spain, which continued to rage until 1604 after the fall of the Armada . In 1601 the Earl of Essex , who had advocated the continuation of the war, was executed. The Greeks stand for the sober, sedate, brutal rationality of English merchant capital, the Trojans for the outdated feudal ideas of honor and absolute principles of the Spaniards. The discussions revolved around the sense or nonsense of the war: The Greeks know that the war is about the whore Helena; they do not have to imagine that they are dying for loyalty and honor like Hector does, who dies because of his traditional concept of honor. But Cressida is also sold off by Pandarus and thus a whore, which means that the war must appear completely pointless to the Trojans as well.

Text and dating

Title page of the first quarto from 1609.
The Tragedie of Troylus and Cressida , folio 1623
Prologue in the first folio edition from 1623

Due to various indications, the creation of the work in today's Shakespeare research is usually dated to the period between 1601 and 1602. Certainly demonstrates the latest possible existence of the piece as is the terminus a quo through a registration of the print rights in the Stationers' Register in February 1603. For such a date also says that Troilus and Cressida one hand in his prologue to Ben Jonson's The Poetaster alludes 1601 and, secondly, Thomas Middleton's parodied The Family of Love , believed to have been written around 1602.

The entry in the Stationers' Register of February 1603 also contains the additional note that the piece had already been performed by Lord Chamberlain's Men . The printing rights in this entry were granted to the stationer James Roberts; however, there is no print with this date.

In 1609, the piece was again entered in the Stationers' Register by the publishers and booksellers Henry Walley and Richard Bonian . In the same year the four-high edition appeared twice, with the two editions only differing in a different title page and a newly included foreword in the second edition. The assertion made in this foreword of the second quarto edition that the piece was “never staled with the stage, never clapper-clawed with the palmes of the vulgar” ( Eng .: “has never been sullied by the stage and the clapping of vulgar hands “), However, is probably not to be understood to mean that the work had not previously been performed on stage, but either that it was only seen in a private performance, possibly in front of the Inns of Court , or that it had to be discontinued due to lack of success in the public theater.

In the folio edition of 1623 the piece is not in the table of contents, but is printed between the Histories and Tragedies, possibly because it was delivered late. The text shows numerous, sometimes substantial, deviations from the version of the four-high editions. as well as a prologue. This folio edition was reprinted in 1632.

Both the four-high editions and the folio print are generally classified as good or reliable texts. The basis for the four-high prints of 1609 was with great certainty a draft version of Shakespeare or a copy of such an authoritative manuscript, since the characteristics typical of such a printing copy such as deciphering problems in hard-to-read places and missing or unclear and contradicting stage directions are evident.

The print in the first folio edition from 1623 was based on a copy of the four-high text from 1609 with corrections from a stage manuscript of the King's Men as a printing copy. The problem for today's editors is that the quarto and folio text differ considerably from one another despite their presumed origin. There are differences in more than 500 places, and the folio text is about 45 lines longer. These deviations can hardly be explained as printing errors; therefore it is highly likely that at least one of the printed versions is based on a basis whose text has been revised. From today's perspective, however, it can no longer be unequivocally clarified whether these changes were made by the author himself or whether they come from a third party. Therefore it can no longer be ascertained with sufficient certainty whether the quarto version or the folio version comes closer to the authentic text from Shakespeare's own pen. Newer text editors usually consider one of the versions to be more authentic and use it as a basis for the text, but decide on a case-by-case basis for either the folio or the four-quarto reading.

The work and its reception

Troilus and Cressida differs from other plays by Shakespeare in almost every way. It is particularly noticeable that, in contrast to most other Shakespeare dramas, the work does not fit into the classic scheme of the dramatic genres. Since the title characters, like most of the other characters, survive in the end, the play is not a tragedy in the classical sense. Nor is Troilus and Cressida a comedy, since the protagonists survive but do not end happily because there is no reconciliation and There is harmonization in the stage company and the play is by no means funny. A classification in the category of Shakespeare's histories is also not possible, insofar as the work as such does not address English history.

Obviously, this problem of assignment already existed in contemporary reception. In the quarto edition of 1609, for example, the work is referred to as The Historie of Troylus and Cressida on the title page , while it is presented as a comedy in the foreword. In the first folio edition of 1623 the piece is titled The Tragedie of Troylus and Cressida and classified under the tragedies, although it should initially be inserted between the tragedies and histories. In more modern complete editions, the work can be found partly in the tragedies, partly in the comedies.

The lack of a clear genre does not only affect the formal assignment of the piece to a group of works, but also affects the orientation of the interpretive approach and the fundamental understanding of the work. Attempts to establish a special genre for this piece as dramatic satire or comical satire have been just as unhelpful for dealing with the work as the designation as problem play and the associated attribution to it a group of texts that are difficult to classify.

In the history of reception, the piece also plays an outsider role. Before the twentieth century, the play did not in any way find any major interest in the theater world or among critics; it has not even been established with certainty whether the work was ever performed publicly during Shakespeare's lifetime. The original title page of the four-high edition from 1609, on which it was also noted that Shakespeare's troupe had performed the play in the Globe Theater, was torn out and replaced by a new title page, in which the claim was made that the work was never in its original version performed on stage and defaced by applause from the common crowd.

During the restoration period , the piece was considered unplayable; for example, John Dryden saw Shakespeare's work as a heap of rubbish , under which, however, something of value was hidden, and felt compelled to write a completely new piece on the same subject. His version, however, was also not well received in the long run, and for nearly two centuries the play was almost completely ignored in the stage reception.

In the meantime, the work has occasionally been recognized in literary criticism with partly positive, partly negative assessments, but generally with extensive disinterest. Even the attempts to question Shakespeare's authorship, which are obligatory in other problematic works, were rather half-hearted here.

It was only in the 20th century that interest in this play, as in other, previously neglected works by Shakespeare awakened, not least because the paths of preoccupation with the well-known dramas were largely well-trodden. However, in no other play of Shakespeare is the contrast between the long prevailing indifference and the new affection so pronounced.

In the theater world, but also among literary critics, Troilus and Cressida has now been discovered as the most modern Shakespeare play. This modernity of the work is particularly evident in his view of the human world, which is or seems to be closer to that of the present age than in other Shakespearean dramas. Thus, in the play, a desperate world without a fixed or generally recognized social set of rules of moral, intellectual or political values ​​and norms is presented; the world of the stage is characterized by corruption and decay everywhere; the characters would therefore react with cynicism, disillusionment or hopelessness to what they experience in this world.

This affinity between Troilus and Cressida and the modern age was captured and used more in theater than in literary criticism. Today, unlike in the past, the play is one of the more frequently performed works, although it is much more popular with theater makers than with viewers. The work is attractive to directors not only because of its basic tone, but also because it offers great potential for transformations and creative interventions. Due to the length of the text, the work cannot be played without cuts; The loose and sometimes jagged structure of the storylines and the large number of topics discussed also represent a challenge for one's own directorial work.

Numerous and mostly impressive productions bring the work to the stage as an anti-war piece, partly as a fundamental parable in an ancient milieu , partly in an updated milieu or ambience. These performances emphasize the act of war, in which the heroes turn out to be cowards or naive fools and the leaders are rhetoricians who do not believe their own words, so that love has no opportunity to develop from the outset.

In the last few decades, literary criticism has dealt more comprehensively and intensively with Troilus and Cressida than with many other plays by Shakespeare, but in the sometimes very protracted discussions, however, no consensus-based results have been achieved. One reason for this is obviously the peculiarity of the piece, which makes it difficult to access it through comparative analyzes. In addition, there is a lack of inner-dramatic value concepts as an orientation for an interpretation, as well as supporting figures who could function as guides or assessors of the events. The famous degree speech (Act I, Scene 3) by Ulysses about the order of the world is only given by Ulysses for the simple reason that the existing order systems in the represented (stage) world have lost their function as a social regulator. Incidentally, despite his clever sayings, he proves to be more of a loosing politician than a reliable authority.

Furthermore, Shakespeare hardly offers any insight into his characters and their motivation in this play: They do not explain themselves or their behavior and feelings further, neither monologically nor dialogically; Nor are there any meaningful explanations from the point of view of the other figures involved.

In literary criticism, a number of questions typical of the time were asked one after the other, but after a certain period of time they were completely abandoned as not or hardly answerable or at least put in the background. Up until the middle of the 20th century, the question of genre classification, whether tragedy, comedy, satire or problem play , was repeatedly raised; However, this debate has meanwhile come to a standstill, as has the question of whether the bitterness and pessimism in the play are autobiographical.

In contrast, the interpretation of the characters is still vehemently and controversially discussed today, with the individual character interpretations fluctuating greatly. In the more recent literary scholarly discussion, a line of development emerges in which, instead of looking for differences between the characters to be judged positively and negatively, the prevailing view is that all the dramatic figures in this play are to be seen in the same moral twilight. While Samuel Johnson, for example, still interpreted Troilus as a romantic lover without any blame and Cressida as a hideous whore, today's interpreters see Troilus more as a self-centered lover who is infatuated with his own amusement and is geared towards his own pleasure and does not interpret Cressida's behavior as worse or more faithless than most men. According to these interpretive approaches, it has developed into what it is through the influence or influences of its environment.

For a long time, literary scholars and critics who endeavored to discover a uniform design principle in every drama, increasingly looked for the basic dramatic structure of the work. Mostly a polarity of the piece was assumed as the basic structure, either as a contrast between the emotionality of the Trojans and the intellectuality of the Greeks or as a contradiction between appearance and reality or between social constraints and the individual pursuit of happiness.

Although such attempts at interpretation may explain or shed light on individual aspects of the drama, they always only touch a small excerpt from this thematic and varied work. In more recent times, some interpreters have expressed themselves more cautiously to the effect that the opaque and confusing form of the work corresponds in an optimal way to what is depicted.

Performance history

"Troilus and Cressida", which is still one of the rarely performed Shakespeare plays, has an unusual performance history. Whether it was played or performed semi-publicly after 1609 - in the Inns of Court - or in a private setting, is viewed differently in research.

There is only clear evidence of a re-performance of the piece from 1679, in which John Dryden took on the bulky piece in an adaptation of the work entitled Truth Found too Late and tried to create a version suitable for the stage by shaping the drama a genre-wise correct tragedy. He intervened heavily in the plot and the tendency of the play. In Dryden's version, Cressida only feigns interest in Diomedes and, out of desperation over Troilus' jealousy, commits suicide. The hero takes revenge on his rival and eventually dies at the hands of the Myrmidons, equating him with Hector. This version as a tragedy with the violent deaths of Troilus and Diomedes was played regularly until 1733, but was no longer performed between 1734 and 1898 according to current knowledge.

In 1907 the original text was brought back to the stage for the first time at the Great Queen Street Theater in London; In 1916 the play was also performed in the United States by the Yale Shakespeare Association in New Haven . In a 1912 production by William Poel in the King's Hall in Covent Garden , Thersites, Paris and Aeneas were portrayed by actresses to bring out the effemination of the world of drama.

More recently, Troilus and Cressida was played again as an updated anti-war play in 1956, directed by Tyrone Guthrie and staged by John Barton in 1969, and on the continent in 1979 in Zurich and in the United States during the Vietnam War . The performance of the Royal Shakespeare Company under the direction of Sam Mendes in April 1990 brought Pandarus to the fore as a commentary, while Barton in 1976 and Howard Davies in 1985 and 1989 had once again placed a strong feminist accent in their productions.

Johann Joachim Eschenburg made the first translation of the piece into German from 1775 to 1782; Wolf Heinrich von Baudissin translated the work for the Schlegel - Tieck edition of 1832 . The first German performance took place in Munich in 1895 at the Gärtnerplatztheater , which presented a historically accurate, backdrop-free production with men in female roles. After 1945 Troilus and Cressida was also staged as an anti-war play on German stages, for example in Dresden in 1962 and at the Thalia Theater in Hamburg in 1970 under the direction of Hans Hollmann . In the 1986 performance of the Münchener Kammerspiele , however, the parallels between ancient Greece, Elizabethan England and the world of the late 20th century were highlighted.

The libretto in William Walton's opera Troilus and Cressida draws largely on Chaucer , while the six scenes in Winfried Zillig's musical drama Troilus and Cressida use Shakespeare's version as a template. They are interwoven with a seven-movement symphony for orchestra and choir, the structure of which is based on a Greek tragedy. Likewise, the game is transformed into tragic. After separating from Troilus, Cressida first turns to Achilles and not Diomedes, but finally throws herself into the pyre on which Troilus's body is cremated.

Film adaptations

  • 1954 Troilus and Cressida , TV movie, directed by George Rylands
  • 1966 Troilus and Cressida , TV movie. Directed by Michael Croft and Bernard Hepton, starring Timothy Black, Andrew Murray, Charlotte Womersley
  • 1981 Troilus & Cressida , directed by Jonathan Miller , starring Charles Gray , Anton Lesser and Suzanne Burden

Text output

English
  • David M. Bevington (Ed.): William Shakespeare: Troilus and Cressida. Arden Third Series. Walton-on-Thames, Surrey / London 1998, ISBN 1-903436-69-9 .
  • Anthony B. Dawson (Ed.): William Shakespeare: Troilus and Cressida. New Cambridge Shakespeare. Cambridge University Press, Cambridge 2003, ISBN 0-521-37619-X .
  • Kenneth Muir (Ed.): William Shakespeare: Troilus and Cressida. Oxford Shakespeare. Oxford University Press, Oxford 1982, ISBN 0-19-953653-8 .
German, bilingual
  • William Shakespeare: Troilus and Cressida . Bilingual edition. New over. u. with note provided by Frank Günther . With an essay and References from Werner von Koppenfels . dtv, Munich 2002, ISBN 3-423-12755-4 .
  • William Shakespeare: Troilus and Cressida . English-German study edition. German prose version, notes, introduction and Comment by Werner Brönnimann-Egger. Stauffenburg, Tübingen 1986, ISBN 3-86057-552-X .

literature

Web links

Commons : Troilus and Cressida  - collection of images, videos and audio files

supporting documents

  1. ↑ Ina Schabert (Ed.): Shakespeare Handbook. Kröner, 5th rev. Edition, Stuttgart 2009, ISBN 978-3-520-38605-2 , p. 437. See also Ulrich Suerbaum : Der Shakespeare-Führer. Reclam, Ditzingen 2006, ISBN 3-15-017663-8 , 3rd rev. Edition 2015, ISBN 978-3-15-020395-8 , p. 166 f. See also Richard S. Ide: Possessed with Greatness: The Heroic Tragedies of Chapman and Shakespeare. The University of North Carolina Press, Chapel Hill 1980. See also Hans-Dieter Gelfert : William Shakespeare in his time. CH Beck Verlag, Munich 2014, ISBN 978-3-406-65919-5 , p. 333.
  2. ^ Roberto Antonelli: The Birth of Criseyde - An Exemplary Triangle: 'Classical' Troilus and the Question of Love at the Anglo-Norman Court. In: Paolo Boitani (ed.): The European Tragedy of Troilus. Clarendon Press, Oxford 1989, pp. 21-48.
  3. ↑ Kenneth Palmer (Ed.): Troilus and Cressida. The Arden Shakespeare. Second series. Methuen, London 1982, ISBN 0-416-17790-5 .
  4. ^ Geoffrey Bullough: Narrative and Dramatic Sources of Shakespeare. Columbia University Press, 1957, ISBN 0-231-08891-4 .
  5. ↑ Ina Schabert (Ed.): Shakespeare Handbook. Kröner, 5th rev. Edition, Stuttgart 2009, ISBN 978-3-520-38605-2 , p. 437 f. See also Ulrich Suerbaum: The Shakespeare Guide. Reclam, Ditzingen 2006, ISBN 3-15-017663-8 , 3rd rev. Edition 2015, ISBN 978-3-15-020395-8 , p. 166 f.
  6. ↑ Ina Schabert (Ed.): Shakespeare Handbook. Kröner, 5th rev. Edition, Stuttgart 2009, ISBN 978-3-520-38605-2 , p. 440.
  7. ^ Jan Kott: Shakespeare today , German 1970. 3rd edition Berlin, Cologne 2013, pp. 104-107.
  8. ↑ Ina Schabert (Ed.): Shakespeare Handbook. Kröner, 5th rev. Edition, Stuttgart 2009, ISBN 978-3-520-38605-2 , p. 437. See also Ulrich Suerbaum: The Shakespeare Guide. Reclam, Ditzingen 2006, ISBN 3-15-017663-8 , 3rd rev. Edition 2015, ISBN 978-3-15-020395-8 , p. 167. See also Michael Dobson , Stanley Wells (Ed.): The Oxford Companion to Shakespeare. Oxford University Press, 2nd edition, Oxford 2015, ISBN 978-0-19-870873-5 , p. 360. See also Hans-Dieter Gelfert : William Shakespeare in his time. CH Beck Verlag, Munich 2014, ISBN 978-3-406-65919-5 , p. 333.
  9. ^ WW Greg: The Printing of Shakespeare's "Troilus and Cressida" in the First Folio . In: Papers of the Bibliographical Society of America. Volume 45, 1951, pp. 273-282.
  10. ↑ See Michael Dobson , Stanley Wells (Ed.): The Oxford Companion to Shakespeare. Oxford University Press, 2nd Edition, Oxford 2015, ISBN 978-0-19-870873-5 , p. 360. See Ina Schabert (Ed.): Shakespeare Handbuch. Kröner, 5th rev. Edition, Stuttgart 2009, ISBN 978-3-520-38605-2 , p. 437. See also Ulrich Suerbaum: The Shakespeare Guide. Reclam, Ditzingen 2006, ISBN 3-15-017663-8 , 3rd rev. Edition 2015, ISBN 978-3-15-020395-8 , p. 167. See also Michael Dobson , Stanley Wells (Ed.): The Oxford Companion to Shakespeare. Oxford University Press, 2nd Edition, Oxford 2015, ISBN 978-0-19-870873-5 , p. 360.
  11. ↑ Ulrich Suerbaum: The Shakespeare guide. Reclam, Ditzingen 2006, ISBN 3-15-017663-8 , 3rd rev. Edition 2015, ISBN 978-3-15-020395-8 , p. 167 f.
  12. ^ So Jan Kott 2013, p. 101 ff.
  13. ↑ See in detail Ulrich Suerbaum: The Shakespeare Guide. Reclam, Ditzingen 2006, ISBN 3-15-017663-8 , 3rd rev. Edition 2015, ISBN 978-3-15-020395-8 , pp. 170 f.
  14. ↑ See in detail Ulrich Suerbaum: The Shakespeare Guide. Reclam, Ditzingen 2006, ISBN 3-15-017663-8 , 3rd rev. Edition 2015, ISBN 978-3-15-020395-8 , pp. 171 f.
  15. ^ Phebe Jensen: The Textual Politics of 'Troilus and Cressida'. In: Shakespeare Quarterly. Vol. 46, 1995, pp. 414-423.
  16. ^ Anthony B. Dawson: Troilus and Cressida. Introduction. Cambridge 2003, p. 2. See also Ina Schabert (Ed.): Shakespeare Handbuch. Kröner, 5th rev. Edition, Stuttgart 2009, ISBN 978-3-520-38605-2 , p. 440.
  17. ↑ Ina Schabert (Ed.): Shakespeare Handbook. Kröner, 5th rev. Edition, Stuttgart 2009, ISBN 978-3-520-38605-2 , p. 441. See also Performance Details - Troilus and Cressida on the Mendes production . Retrieved August 29, 2017.
  18. ↑ Ina Schabert (Ed.): Shakespeare Handbook. Kröner, 5th rev. Edition, Stuttgart 2009, ISBN 978-3-520-38605-2 , p. 441.
  19. ↑ Ina Schabert (Ed.): Shakespeare Handbook. Kröner, 5th rev. Edition, Stuttgart 2009, ISBN 978-3-520-38605-2 , p. 441.