1703-8 That Piros … don hire sacrifise: what is the effect of a character’s referring to such a mythological understanding of planetary movements and the passing of time? (Here the four-horsed chariot of the sun, which Troilus imagines moving faster than usual to spite him).

1714-15 And thus Fortune … this kynges sone of Troie: what is the connection between Fortune and mention of Troilus’s high rank? Is there a pattern in references to Fortune in Book III and the poem as a whole?

1719 He yeveth frely ofte and chaungeth wede: [he gives frequent and generous presents, and changes his clothes]; i.e. Troilus performs all the munificence and the magnificent display expected of a prince. These stanzas summarize a social interaction on Troilus’s part which the poem does not dramatize. Is this to show the improving effects of love, and how would that fit with your reading of the poem?

1734 He was so narwe ymasked and yknet: the language of this stanza emphasizes Troilus as netted and bound by his love for Criseyde – with which other points in the poem is it valuable to compare this?

1740 of Criseyde and of hire wommanhede: what are the qualities that for Troilus make Criseyde the quintessence of womanliness, womanly qualities?

1744 Canticus Troili: Troilus’s song on the harmony of the cosmos under love derives from Boethius’s Consolation of Philosophy (Book II, metrum 8), which Chaucer had recently translated into English prose. If you compare the two, you’ll see that Chaucer has omitted Boethius’s final line in the version for Troilus here – what do you think is the implication?

1775 Save Ector most ydred of any wight: is it significant that the poem always describes Troilus as second best, after his brother, Hector of Troy?

1778   That altered his spirit so withinne: the next four stanzas insist on how love transforms Troilus for the better as a person – how does this fit with your interpretation of the character more generally?

1807-13   Thow lady bright … : the third book closes with this salutation to the departing Venus, Cupid and the Muses (the ensuing fourth proem will invoke the Furies). Such classical invocation and formal division into books were still unfamiliar in texts in English when T&C was written – how do such formal features and demarcations contribute to your view of the poem’s meaning?