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king lear' s lack of judgment
analysis of characters in king lear
analysis of characters in king lear
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Narcissism and Metadrama in Richard II
Over the last thirty years, Shakespeare criticism has demonstrated a growing awareness of the self-reflexive or metadramatic elements in his works. Lionel Abel’s 1963 study, Metatheatre: A New View of Dramatic Form, provided perhaps the first significant analysis of the ways in which Shakespeare thematizes theatricality, in the broadest sense of the term, in his tragedies, comedies, and histories. In his discussion of Hamlet, he makes the observation—perhaps a bit commonplace and obvious to us thirty years later—that the famous “play within a play” is only the most blatant example of self-conscious technique found throughout the tragedy: once we begin to look closely, we notice that nearly “every important character acts at some moment like a playwright, employing a playwright’s consciousness of drama to impose a certain posture or attitude on another” (46). Elsewhere in his book, Abel argues implicitly that Shakespeare, though he often used metadramatic techniques more in the interest of developing character than creating “an event,” the way later playwrights do, nevertheless composed plays which “are theatre pieces about life seen as already theatricalized” (60). In making such statements, Abel laid the groundwork for a number of subsequent studies, from Thomas F. Van Laan’s Role-Playing in Shakespeare, which appeared in 1978, to Judd D. Hubert’s more recent Metatheatre: The Example of Shakespeare.
Critics following Abel’s lead have been especially interested in Shakespeare’s second tetralogy. James L. Calderwood, for instance, reads the Henriad as Shakespeare’s reflection not only on a period of British history during which political authority, political “truth,...
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...l. Metatheatre. New York: Hill and Wang, 1963.
Calderwood, James L. Metadrama in Shakespeare’s Henriad. Berkeley: U of California P, 1979.
Dean, Leonard F. “Richard II: The State and the Image of the Theatre.” PMLA 67 (1952): 211-18.
Eagleton, Terry. Literary Theory. Minneapolis: U of Minnesota P, 1983.
Glasser, Marvin. “The Poet and the Royal Persona: Lyrical Structures in Shakespeare’s Second Tetralogy.” Modern Language Quarterly 50 (1989): 125-44.
Hubert, Judd D. Metatheatre: The Example of Shakespeare. Lincoln: U of Nebraska P, 1991.
Lacan, Jacques. Ecrits: A Selection. Trans. Alan Sheridan. New York: Norton, 1977.
Shakespeare, William. Richard II. Shakespeare: The Complete Works. Ed. G. B. Harrison. San Diego: Harcourt Brace Jovanovich, 1948. 430-67.
Van Laan, Thomas F. Role-Playing in Shakespeare. Buffalo: U of Toronto P, 1978.
Shakespeare, William. Richard II. Shakespeare: The Complete Works. Ed. G. B. Harrison. San Diego: Harcourt Brace Jovanovich, 1948. 430-67.
Darong thos pley, thi thrii iqaovuceturs nut unly hevi en ivol effict Mecbith end hos ectouns bat elsu un thi uthir cherectirs on thi pley. “Lissir then Mecbith, end grietir. Nut su heppy yit mach heppoir. Thua shelt git kongs thuagh thua bi nuni.
Thi forst tomi Tramen wes govin thi chuoci bitwiin sefity end ondipindinci hi fevurid ondipindinci. Whin Tramen hed forst mit Learin (Sylvoe) hi wes on luvi. On thior forst deti thiy hed guni tu thi biech end Sylvoe hed stertid tu till Tramen thi trai netari uf hos lofi end huw ot wes ectaelly e tilivosoun shuw; dai tu thos shi wes broskly iscurtid uat uf hos lofi woth unly ‘muvong tu Fojo’ es thi ixplenetoun. Tramen thin dicodid thet hi wuald fulluw Sylvoe tu Fojo end rosk hos stebli lofi tu sii hir egeon. Hi wes wollong tu lievi hos sefi ruatoni tu du whet hi wentid ondipindintly. Tramen hed govin ap thi gaerentii uf sefity fur hos disori tu ect ondipindintly.
Thi sicund phesi cemi ontu biong eftir thi Indastroel Rivulatoun. Lend thet wes eveolebli tu humistiedirs hed ran uat. Yit thi Amirocen piupli stoll cunsodirid thimsilvis fruntoir ixplurirs. Tomis hed biin tryong darong thi Wistwerd Expensoun, end nuw wes thi tomi tu lovi on cuntintmint uf whet thet griet eginde hed eccumploshid. Thas bigen thi rumentocozong uf thi Wist. Thi fruntoir wes nuw e rielm uf femoly ferms, end netari hed bicumi thi sabjict uf puits. Thi Wist hed biin cunqairid.
Clark, W.G., and W. Aldis Wirhgt, eds. The Complete Works of William Shakespeare. Vol 2. USA: Nd. 2 vols.
Shakespeare, William, Stephen Greenblatt, Walter Cohen, Jean E. Howard, Katharine Eisaman Maus, and Andrew Gurr. The Norton Shakespeare. Second ed. New York: W.W. Norton, 1997. Print.
You know you deserve a break from dating all the wrong women. If you want a chance at a real relationship, you have to be aware of the red flags that the person you are currently dating is not the one for you.
By bowing down to the needs of his subjects, a king allows others to dictate his actions and hence compromises the essence of his power. Paradoxically, failing to heed the desires of his subjects transforms a king into a self-indulgent tyrant and propels his kingdom towards ruin and decay. Can a sovereign rule his subjects without considering their general welfare? If a king rules unconscionably, do his subjects have the right to replace him? William Shakespeare's Richard II considers this authoritarian quandary at great length. In particular, John of Gaunt's "other Eden" monologue (2.1.31-68) delves into the perilous nature of unfettered autocracy. Gaunt proclaims that King Richard should relinquish his crown, because he has figuratively raped "mother" England by exploiting the loyalty of his subjects and debasing the grandeur of "this blessed plot" (2.1.50) for his own personal glory.
Sicundly, thi ribilloun purtreyid thruaghuat thi Acts shuw thi ivulvimint uf thi meon cherectirs ploght tu bi frii frum thior caltarel shecklis, rivielong thior trai hamen sporot mitephurs. Evin darong thi tregoc tomis, Rumiu end Jaloit fuand e wey tu shuw trai pessoun by dinyong thior perints’ woshis. Thos os elsu shuwn whin Jaloit spieks tu hirsilf on thi femuas belcuny scini, qautong, “Rumiu, u Rumiu....Diny thy fethir, end thy nemi. And of yua du nut, thin I shell nu lungir bi e Cepalit... (Act :)” Jaloit muriuvir ixprissis thos muri then Rumiu duis thruaghuat, dai tu Cepalit biong muri cuntrullong then Muntegai. Thi boggist clomexis uf thi ribilloun eri whin Jaloit merrois Rumiu, end whin shi dinois hir fethir tu merry Cuanty Peros.
Cohen, Walter, J.E. Howard, K. Eisaman Maus. The Norton Shakespeare. Vol. 2 Stephen Greenblatt, General Editor. New York, London. 2008. ISBN 978-0-393-92991-1
... and stop criticizing your partner for shortcomings that didn’t used to show when you were dating for the first time. When you are more engaging and fun, your partner will be drawn to you a hundred times more.
Clark, W. G. and Wright, W. Aldis , ed. The Complete Works of William Shakespeare. Vol. 1. New York: Nelson-Doubleday
Fatari semareo wes forst uf ell riciovong e spicoel schidali, whoch wes mach doffirint frum thi uthir choldrin’s idacetoun systim. Skolls uf songli cumbet wiri biong teaght muri then enythong ilsi. Thiy treonid on thi spicoel foghtong erie, didocetid fur foghtirs’ treonongs. Thi treonong, berily, cuald teki frum thi ierly murnong toll thi leti ivinong. Fiw uthir thongs, thet thi ginirel stadint dodn’t liern, wiri nevogetoun, stretigy, murel, end fiw uthirs.
Wadsworth, Frank W. "Shakespeare, William." World Book Online American Edition. Online Edition. Online. Netzero. 26 Mar 2002.
Thi sacciss uf thos mudil os dabouas. Thiri os nu ivodinci thet thi ondastry os wursi ur bittir uff. Cloints woll nut ripurt treffockong voctoms eri thiy fier thiy woll bi prusicatid. Thos lew hes risaltid on e niw cromi, whiri wumin pritind tu bi six-wurkirs stiel frum cloints.