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Critical comments on shakespeare's king Lear
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Recommended: Critical comments on shakespeare's king Lear
As Harold Bloom analyzes various interpretations of King Lear in his book, Bloom’s Shakespeare Through the Ages: King Lear, he starts by discussing modern critical interpretations of King Lear. Bloom believes Shakespeare used King Lear to mold out a sense of reality that cannot be seen in any other plays or books except the Bible (304-305). Furthermore, like many other critics have said, Bloom agrees that many elements of King Lear are similar to the Book of Job. However, Bloom believes that Shakespeare sought to have this play resemble the Book of Job in order for the audience to see Job as a model for King Lear’s situation and emphasize the negativity of King Lear’s tragedy. Bloom notes however that King Lear was not like Job because …show more content…
Bloom’s first analysis is of The Fool who he defines as a displaced spirit who is not only beloved, but also a mad person, child, and victim. The Fool and King Lear are believed to always appear together throughout the play because The Fool is responsible for controlling the king’s nobility while destroying some of the king’s sanity. The Fool appears to serve as a teacher for whoever needs him (in this case King Lear), and may travel from play to play, which could explain why The Fool abruptly disappears in the middle of King Lear (Bloom …show more content…
When I had first reviewed King Lear, it was difficult for me to see the point in the Fool. Initially, the Fool had seemed like a random character just thrown into the play. However after reading Bloom’s critique, I now see how much of an important role the Fool had in the play. Without the Fool as a guide for King Lear, it seems unlikely that the main messages of the play would have gotten across since the Fool served to instill the meaning of life in King Lear. Bloom’s analysis of the Fool had also gotten me thinking more about why he would be given that name. Although Bloom believed the Fool’s name resembled his randomness and immaturity, I think his name may be the Fool since he teaches us messages that we’re too oblivious (or foolish) to
Lawrence believes that the storm is a symbol of King Lear’s own turmoil that he is unable to realize. Furthermore, when King Lear wishes to die in the storm, he hopes to make his death more significant than it really is. Lawrence also argues like many other critics that King Lear’s suffering is largely voluntary, which he believes King Lear does to give his life more meaning. Lawrence also describes the Fool similarly to other critics as King Lear’s guide. For instance, despite all the suffering King Lear faces in the storm scene, the Fool reminds him that he can ask for Cordelia’s blessing to feel better (Lawrence 40). However, King Lear fails to recognize the Fool’s words of wisdom being caught up in his own self-righteousness. This can be seen in King Lear’s speech demanding for an apocalypse when he accuses others of crimes to show his superiority over others (Lawrence 41). Only once King Lear calms down later in the play does he begin to seek a meaningful death. However, it may have been too late for King Lear as he remains unable to escape from Being due to how he acted before (Lawrence
In Shakespeare’s King Lear, the Fool is a source of chaos and disruption in King Lear’s tumultuous life. The Fool causes the King distress by insulting him, making light of his problems, and telling him the truth. On the road to Regan’s, the Fool says “If thou wert my Fool, nuncle, I’d have thee / beaten for being old before thy time.” (1.5.40-41). He denies the king the respect due to him as an aged King, causing the King to wonder at his worthiness. The fool also makes light of Lear’s qualms making snide remarks in response to Lear’s ruminations. When Lear asks Edgar cryptically, “wouldst thou give ‘em all?” the Fool responds, “Nay, he reserved a blanket, else we had been all shamed” (3.4.69-72). The Fool’s snide remarks do little to maintain Lear’s fragile control of his faculties. However, the Fool speaks to the king candidly, a rare occasion in Lear’s life. Even Kent acknowledges the truth of the Fool’s statements, saying, “This is not altogether fool, my lord” (1.4.155).
Shakespeare, William. "King Lear: A Conflated Text." The Norton Shakespeare. Ed. Stephen Greenblatt. New York:
Lear’s lack of personal identity becomes painfully clear when he criticizes Goneril and asks, “Does any here know me?” (I.iv. 231). Lear relies on external sources to tell him who he is. It is Lear’s inability to separate himself from the crown that led to his undeveloped personal identity. In answer to his question, the fool provides the answer: “Lear’s shadow” (I.iv. 234). Lear’s identity as king is all he has ever known. Without the title he is nothing but an empty shell with no internal substance. Lear forgot to form an identity for not just Lear the king, but Lear the man. Lear is only able to find his personal identity when he meets Cordelia and says, “I am a very foolish fond old man” (IV.vii.69). Lear has given himself an identity beyond that of a king and it is not a description of vanity, but of truth and experience. Lear has gained an identity for
Societal and environmental factors, even from the beginning of adolescence, shape people’s interpretation and comprehension of love (Hartup 8-13). This makes it decidedly difficult for people to notice a distinction between the different types of love. Not only do copious types of love exist, but also there are varying definitions of love (Rubin 2-4). Whilst some people may define love as immaturity, others may define it as a positive passionate emotion between two, occasionally multiple, people (1). The primary type of love, defined by the latter statement in the previous sentence, in King Lear is familial love — rather than the romantic love that a multitude of Shakespeare’s other plays revolve around. Bloom mentions
In The Tragedy of King Lear, particularly in the first half of the play, Lear continually swears to the gods. He invokes them for mercies and begs them for destruction; he binds both his oaths and his curses with their names. The older characters—Lear and Gloucester—tend view their world as strictly within the moral framework of the pagan religion. As Lear expresses it, the central core of his religion lies in the idea of earthly justice. In II.4.14-15, Lear expresses his disbelief that Regan and Albany would have put the disguised Kent, his messenger, in stocks. He at first attempts to deny the rather obvious fact in front of him, objecting “No” twice before swearing it. By the time Lear invokes the king of the pagan gods, his refusal to believe has become willful and almost absurd. Kent replies, not without sarcasm, by affixing the name of the queen of the gods to a contradictory statement. The formula is turned into nonsense by its repetition. In contradicting Lear’s oath as well as the assertion with which it is coupled, Kent is subtly challenging Lear’s conception of the universe as controlled by just gods. He is also and perhaps more importantly, challenging Lear’s relationship with the gods. It is Kent who most lucidly and repeatedly opposes the ideas put forth by Lear; his actions as well as his statements undermine Lear’s hypotheses about divine order. Lear does not find his foil in youth but in middle age; not in the opposite excess of his own—Edmund’s calculation, say—but in Kent’s comparative moderation. Likewise the viable alternative to his relationship to divine justice is not shown by Edmund with his ...
Shakespeare’s tragedy, King Lear, portrays many important misconceptions which result in a long sequence of tragic events. The foundation of the story revolves around two characters, King Lear and Gloucester, and concentrates on their common flaw, the inability to read truth in other characters. For example, the king condemns his own daughter after he clearly misreads the truth behind her “dower,”(1.1.107) or honesty. Later, Gloucester passes judgment on his son Edgar based on a letter in which he “shall not need spectacles”(1.2.35) to read. While these two characters continue to misread people’s words, advisors around them repeatedly give hints to their misinterpretations, which pave the road for possible reconciliation. The realization of their mistakes, however, occurs after tragedy is inevitable.
Despite its undeniable greatness, throughout the last four centuries King Lear has left audiences, readers and critics alike emotionally exhausted and mentally unsatisfied by its conclusion. Shakespeare seems to have created a world too cruel and unmerciful to be true to life and too filled with horror and unrelieved suffering to be true to the art of tragedy. These divergent impressions arise from the fact that of all Shakespeare's works, King Lear expresses human existence in its most universal aspect and in its profoundest depths. A psychological analysis of the characters such as Bradley undertook cannot by itself resolve or place in proper perspective all the elements which contribute to these impressions because there is much here beyond the normal scope of psychology and the conscious or unconscious motivations in men.
Therefore, if the sane characters commit foolish actions, obeying the same paradox, the implications are that Tom o’Bedlam and the fool have to be wise. The role of the fool in the play is to remind Lear of his foolish behaviour in giving everything to his two daughters and in banishing Cordelia. The audience can get much insight in the words of the fool. This was not new to the Elizabethan audience as it was a theatrical convention that the fool would speak the truth. Likewise is poor Tom o’Bedlam (Edgar in disguise). In him Lear finds reason and calls him philosopher.
Combining the antics of a circus with the pomp of a royal court is a difficult task indeed. William Shakespeare's genius came from how closely he intertwined the two seemingly mutually exclusive realms to appeal to all socioeconomic groups in his audience. In King Lear, Edgar's appearance as Tom of Bedlam, Lear's insanity, and Lear's Fool provide the comic relief which slices the dramatic tension. Among these, Lear's Fool provides the closest intercourse of the two realms of royalty and tomfoolery while still maintaining their separation.
King Lear is a Shakespearian tragedy revolving largely around one central theme, personal transformation. Shakespeare shows in King Lear that the main characters of the play experience a transformative phase, where they are greatly changed through their suffering. Through the course of the play Lear is the most transformed of all the characters. He goes through seven major stages of transformation on his way to becoming an omniscient character: resentment, regret, recognition, acceptance and admittance, guilt, redemption, and optimism. Shakespeare identifies King Lear as a contemptuous human being who is purified through his suffering into some sort of god.
The.. In conclusion, Twelfth Night is full of lighthearted moments and this. is expressed through both the main and the subplots, in which the fool. is the one to control comedy and humour in the play. Feste's role in the.
In Elizabethan times, the role of a fool, or court jester, was to professionally entertain others, specifically the king. In essence, fools were hired to make mistakes. Fools may have been mentally retarded youths kept for the court’s amusement, or more often they were singing, dancing stand up comedians. In William Shakespeare’s King Lear the fool plays many important roles. When Cordelia, Lear’s only well-intentioned daughter, is banished from the kingdom Fool immediately assumes her role as Lear’s protector. The fool is the king’s advocate, honest and loyal and through his use of irony sarcasm and humour he is able to point out Lear’s faults. Functioning much as a chorus would in a Greek tragedy, the fool comments on events in the play, the king’s actions and acts as Lear’s conscience. As he is the only character who is able to confront Lear directly without risk of punishment, he is able to moderate the king’s behaviour.
In Shakespeare's classic tragedy, King Lear, there are several characters who do not see the reality of their situation. Two such characters are Lear and Gloucester. Both characters exhibit a blindness to the world around them. Lear does not see clearly the truth of his daughters mentions, while Gloucester is also blinded by Edmond's treachery. This failure to see reality leads to Lear's intellectual blindness, which is his insanity, and Gloucester's physical blindness that leads to his trusting tendencies. Each character achieves inner awareness at the end as their surreal blindness is lifted and they realize the truth. Both Lear and Gloucester are characters used by Shakespeare to show the relevance of having a clear vision in life.
King Lear, the protagonist of the play, is a truly tragic figure. He is driven by greed and arrogance and is known for his stubbornness and imperious temper, he often acts upon emotions and whims. He values appearances above reality. He wants to be treated as a king and to enjoy the title, but he doesn’t want to fulfill a king’s obligations of governing for the good of his subjects.