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King lear's tragical elements
King lear's tragical elements
King lear's tragical elements
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Countless people suffer everyday and their pain and sorrow is oblivious to others around them. Living in agony, they hold in their pain and look forward to a better tomorrow. In William Shakespeare’s tragedy, King Lear, the characters learn the true nature of their children behind what they see on the surface as they experience grieve and great sadness. As they reach the bottom of the wheel of fortune, their lowest point, they reincarnate and grasp the reality of the world around them. From the betrayal of family and friends, they gain insight into their own lives and the lives of others around them. Many characters have poor judgement during the beginning of the play that cause them to make reckless decisions. From these bad decisions, …show more content…
Here, they are born again and learn what truly matters. In 3.1, Lear shows compassion for others after he is humiliated by his daughter and left both daughterless and powerless. He is kicked out from Gloucester’s castle and forced to face a violent storm along with the Fool and Kent. Lear is reluctant to find shelter, but changes his mind for the Fool’s well being. He says, “Come on, my boy. How dost, my boy? Art cold?” (3.2.71). For the first time, he cares about someone other than himself. Not only that, but he also shows compassion to the poor and realizes that he should have taken better care of his people knowing that they live day to day without food, shelter or clothes to keep them warm. He wished that he gave more to the …show more content…
(3.4.35 – 39) Showing compassion towards the struggles of the poor was uncommon for members of nobility, but after Lear lost his power and his daughters, he realized that there are many people in the world who have even less than him. He recognizes that he should have taken better care of them by sharing his surpluses when he was a king and make the world a little fairer. Later on in the play, Cordelia comes back to Britain to find Lear, and when they meet, Lear is both incredibly shocked and remorseful. He feels ashamed to look at Cordelia, certain that he does not deserve her forgiveness and acts with his new outlook on justice: If you have poison for me, I will drink it. I know you do not love me; for your sisters Have, as I do remember, done me wrong. You have some cause, they have not. (4.7.82 – 85) For once in his life, he takes responsibility for his actions. He knows that he punished his only loving daughter for selfish reasons and willingly takes on the consequences of his egotistic actions, even if it means his death. Lear pushes towards his new notion of justice and wants to do whatever it takes to make things
He expresses his anger at the storm by trying to tell the storm to be even more fierce to him. Lear says that since those who owe him everything are so harmful to him, why shouldn't the storm which owes him nothing be any less? Here he starts to notice that he isn’t the “Fierce King” everyone thinks he is. On the contrary, he sees himself as a poor, weak man. After this, Lear begins another change, and that is thinking of others instead of just himself.
Through Lear, Shakespeare expertly portrays the inevitability of human suffering. The “little nothings,” seemingly insignificant choices that Lear makes over the course of the play, inevitably evolve into unstoppable forces that change Lear’s life for the worse. He falls for Goneril’s and Regan’s flattery and his pride turns him away from Cordelia’s unembellished affection. He is constantly advised by Kent and the Fool to avoid such choices, but his stubborn hubris prevents him from seeing the wisdom hidden in the Fool’s words: “Prithee, tell him, so much the rent of his land comes to: he will not believe a fool” (Shakespeare 21). This leads to Lear’s eventual “unburdening,” as foreshadowed in Act I. This unburdening is exacerbated by his failure to recognize and learn from his initial mistakes until it is too late. Lear’s lack of recognition is, in part, explained by his belief in a predestined life controlled completely by the gods: “It is the stars, the stars above us govern our conditions” (Shakespeare 101). The elder characters in King Lear pin their various sufferings on the will of...
Lear becomes blinded by his flaws, leading him to make irrational decisions which ultimately cause him to go mad. After Cordelia is unable to state how much she loves her father and outdo her sisters exaggerated professions of
undergoes a redeeming reversal of character. Lear slowly starts to go mad, Lear. O, let me not be mad,
Lear is estranged from his kingdom and friends, causing his loss of sanity. In the midst of Lear's self-pity he is discovered by the fool. Fittingly enough the fool is the one able to lead Lear back to the normal world. He is made to appreciate the people who truly cared about him from the beginning. He sees that they were right all along, and repents from his foolish decision, though it's too late to do him any good.
After Kent delightfully brings the two together and Lear realizes who he is talking to, he begs for forgiveness: “Pray, do not mock me. / I am a very foolish fond old man, / Fourscore and upward, not an hour more nor less /....Do not laugh at me, / For as I am a man, I think this lady / To be my child Cordelia.“ (IV.vii.68-79). Lear has finally achieved self-awareness regarding his mistaken banishment of Cordelia, and proclaims to her in a surprising display of humility that he is just a “foolish fond old man.” Shocking the audience, Lear does not hold back his newfound sense of shame. He goes on: “Be your tears wet? Yes, faith. I pray, weep not. If you have poison for me, I will drink it. I know you do not love me, for your sisters Have, as I do remember, done me wrong. You have some cause; they have not.” (IV.vii.81-85). In another case of both humility and misjudgment, Lear believes that Cordelia no longer loves him due to his mistakes. Lear could not be more wrong because Cordelia 's love for her father is unconditional and still lives. Cordelia virtuously accepts his apology and assures him “No, sir, you must not kneel,” (IV.vii.67). Although the two do not live much longer, Lear intends to live out the rest of their lives being the best a father can
It is noteworthy that none of the truly evil characters in the drama have yet taken a conscious initiative. Up to this point everything centers around the interaction of Lear, Cordelia and Kent and all the terrible sufferings which follow have their source in this encounter. To rightly comprehend King Lear, we must see the true significance of the court and the direct relationship between it and the tragedy that follows. We must discover the source of the great intensity and direction which finds expression in the action of the drama, and carries it to its inexorable conclusion.
The first stage of Lear’s transformation is resentment. At the start of the play it is made quite clear that Lear is a proud, impulsive, hot-tempered old man. He is so self-centered that he simply cannot fathom being criticized. The strength of Lear’s ego becomes evident in the brutal images with which he expresses his anger towards Cordelia: “The barbarous Scythian,/Or he that makes his generation messes/To gorge his appetite, shall to my bosom/Be as well neighboured, pitied, and relieved,/As thou may sometime daughter.” (1.1.118-122). The powerful language that Lear uses to describe his intense hatred towards Cordelia is so incommensurable to the cause, that there can be only one explanation: Lear is so passionately wrapped up in his own particular self-image, that he simply cannot comprehend any viewpoint (regarding himself) that differs from his own (no matter how politely framed). It is this anger and resentment that sets Lear’s suffering and ultimate purification in motion.
Lear shows how he feels about how his daughters are treating him by comparing them to unpleasant animals. Lear in scene IV has a quarrel with his other daughter, Regan, where again he uses animal images to show how his daughters are sinking below manhood to animals. Lear seeks out his daughter, Regan, at Gloucester’s castle, and finds out that her husband has put his faithful friend Kent in the stocks and that both husband and wife have retired to bed and do not wish to see him. When Regan finally comes down, she tells him “You should be ruled, and led by some discretion that discerns your state better than yourself”. iv.
In acceptance of helplessness, the characters ironically experience growth, joy, and hope. If the world of Lear is chaotic, painful, and alien, it also stimulates growth. The king with no kingdom discovers the superficial authority that was his kingship, and understood “They flatter’d me like a dog...they told me I was everything. ‘Tis a lie” (Shakespeare IV. vi. 96-105). When Lear had finally accepted his inability to change a situation, he looks upon his life with a new-found wisdom. Lear’s progress to acceptance is also marked by the shift of dependence from evil children to good, from Regan and Goneril to Cordelia. The schematic character groupings of good and evil invites us to see the children on a metaphorically level of shifting stages. When Lear is reunited with Cordelia, though he is faced with impending death, he blissfully proclaims “Come, let’s away to prison...so we’ll live / And pray, and sing, and tell old tales, and laugh / At gilded butterflies” (Shakespeare V. iii. 8-19). Lear is, for the first time in the play, truly happy. The King beautifully expresses an idea of acceptance against uncontrollable forces. The prison that Lear speaks of is not a literal one, but rather his response to the approaching end of his life, as it should be for all of us, to pray, to sing, to tell tales, to laugh, to be above the battle of life. Similarity, Gloucester,
Lear needs to feel a sense of closure and he is trying to fill a void in him that he thinks Poor Tom can, Lear believes that by having someone who is going through the same type of madness and situation he would not be alone and he would have someone he can relate with. Lear brings Poor Tom with him as his personal Philosopher. Additionally, Lear holds an imaginary court trial against his two daughters Regan and Goneril “I 'll see their trial first. Bring in their evidence.” (3.6.36) Lear tries to restore order and sanity back in his life but does it in an insane way like the imaginary trial. He brings Poor Tom with him and has him play the role of the judge. Lear believes that is it the fault of the two daughter that cause him to go
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.
Perhaps Lear's most difficult moment to endure is when he discovers his youngest and most prized daughter, Cordelia, dead. His initial reaction is of unbearable pain, but, being in his current state of madness, some of the anguish is alleviated when he "realizes" that she is alive. The king overcomes his earlier mistakes only after losing the one daughter who truly loved him. It's debatable whether Lear is completely conscious of his loss, but more plausible to suspect he is not fully affected by it as he is no longer in his right mind. Finally, Lear has dealt with the consequences of his decisions and is redeemed.
While both Lear and Cordelia come to the conclusion that this will most likely be the end of their lives, Cordelia decides to apologize for all oppression her sisters caused her father. She does so by saying “Repair those violent harms that my two sisters Have in thy reverence made” (4.7.33-34). While the progression of oppression towards Lear evolves in a different way for Cordelia, the decrease of oppression that Cordelia shows to her father also stems from the previous oppression Lear imposed on her. Cordelia is able to view from the beginning that her father treated he horribly, but
The first flaw in King Lear is his arrogance, which results in the loss of Cordelia and Kent. It is his arrogance in the first scene of the play that causes him to make bad decisions. He expects his favorite, youngest daughter to be the most worthy of his love. His pride makes him expect that Cordelia’s speech to be the one filled with the most love. Unfortunately for King Lear’s pride, Cordelia replies to his inquisition by saying, “I love your majesty/According to my bond and nothing less';(1.1.100-101). Out of pride and anger, Lear banishes Cordelia and splits the kingdom in half to the two evil sisters, Goneril and Regan. This tragic flaw prevents King Lear from seeing the truth because his arrogance overrides his judgement. Lear’s arrogance also causes him to lose his most faithful servan...