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Summary: 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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