SOURCE: “He Do Cressida in Different Voices,” in English Literary Renaissance, Vol. 20, No. 2, Spring, 1990, pp. 254-86.
In the following essay, Hodgdon refers to several different stage adaptations of Troilus and Cressida to demonstrate how the play was constructed to keep Cressida in particular, and, through her representation, Renaissance women in general, under male control.
