Critics have been sharply divided both on whether the ending of Troilus and Criseyde is an artistic mishap or a key to the meaning of the larger poem and whether it signals agreement with or a departure from Dante. This article argues that the model of the Trinity employed by Dante also has structural meaning for Troilus, but that theending of Troilus clearly signals a worldview that departs from that found in the Commedia. It further demonstrates that the structure of the poem is divided into thirds, even as it is divided in half, and even as it is a cohesive whole, a feature that has important implications for interpretative cruxes surrounding the poem.

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