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King Lear, a tragic figure
King lear as a shakespeare tragedy
King lear as a shakespeare tragedy
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Recommended: King Lear, a tragic figure
It is often said “what doesn’t kill you makes you stronger,” and Shakespeare himself seems to agree with this old adage. In his tragedy King Lear he has many of his main characters go through an experience that takes them far out of their comfort zone to change them for the better. Throughout King Lear Shakespeare shows that man cannot be morally strong without over coming suffering.
At the beginning of the play King Lear is an old, foolish man. He is blind to the traitors all around him. Although he physically can see, he is blind to his elder two daughters’ treacherous lies of their undying love for him. He is also blind to the truth. He believes his advisor Kent and youngest daughter Cordelia are liars, when in fact they are the ones who are telling him the truth. He banishes the two people who he should have held closest telling Kent, “Turn thy hated back/ Upon our kingdom” (1.1.189-190) and Cordelia
Here I disclaim all my paternal care,
And as a stranger to my heart and me
Hold thee, from this, for ever. (1.1.119-122)
To realize the err of his ways he must pay the price of his folly. He is kicked out of Goneril and Regan’s castles and left to suffer out in the storm. He has hit rock bottom at this point, calling upon nature to “Singe [his] white head!” (3.2.6) and kill him to take him out of his misery. As James L. Rosier states in his essay The Lex Aeterna and “King Lear”, “As the pressure on Lear grows and he tragically moves towards a period of despair, he recognizes in the full the internal causes of his downfall.” As Lear travels through the wilderness he realizes how ungrateful he has been for the luxuries life has given him. After having found shelter for the night from the storm he realiz...
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...compass from facing challenges and hardships. Everyone faces hardships each day, yet instead of complaining about them we should look at these trials and tribulations and see how they can help us grow.
Works Cited
Carroll, William C. "'The Base Shall Top Th'Legitimate': The Bedlam Beggar and the Role of Edgar in 'King Lear.'" 1987. Winter, 1987. 4th ed. N.p.: Folger Sheakespeare Library, 1987. 426-41. Print. Vol. 38 of Shakespeare Quarterly.
Hawkins, Harriett. "Dramatic Judgement in King Lear." Shakespeare: The Tragedies. Ed. Robert R. Heilman. Englewood Cliffs: Prentice-Hall Inc., 1984. 163-74. Print.
Rosier, James L. "The Lex Aeterna and King Lear." 1954. The Journal of English and Germanic Philosophy. Vol. 53. N.p.: University of Illinois Press, 1954. 574-80. Print.
Shakespeare, William. King Lear. Clayton (Deleware): Prestwick House, 2005. Print.
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
Shakespeare, William. "King Lear: A Conflated Text." The Norton Shakespeare. Ed. Stephen Greenblatt. New York:
... Lears blessing, and declared his daughter. Lear also realized that Kents speaking out was for Lear’s best and that he too was abused and banished. What stings Lear even more is that he is now completely dependent upon his two shameless daughters, Goneril and Regan. Plus that he must now beg them when he took care of them like a father when they were once children, to drive Lears further into madness he realizes that as king he was so ignorant and blind with power that he never took care of the homeless and let them suffer. All these realization and the fact that Lear is in his second childhood a tender stage drive him into the peak of madness.
The pursuit of power and constant struggle to maintain it leads to the deterioration of the mind. In the play Macbeth, Shakespeare demonstrates this concept through Macbeth’s struggle for power and his subsequent down fall. This is evident in his complete loss of honour and loyalty, his new found constitution of duplicity and his lack of value for life itself.
Bradley, A.C. "King Lear." 20Lh Century Interpretations of King Lear. Ed. Jane Adelman. New Jersev; Prentice-Hall, 1978.
Muir, Kenneth. "Great Tragedies I: King Lear." Shakespeare's Sources. London: Methuen & Co Ltd, 1957.
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.
Bengtsson, Frederick. “King Lear by William Shakespeare.” Columbia College. N.p., n.d. Web. 19 Apr. 2015.
Lear's relationship with his three daughters, Goneril, Regan and Cordelia, is, from the beginning, very uncharacteristic of the typical father-daughter relationship. It's clear that the king is more interested in words than true feelings, as he begins by asking which of his daughters loves him most. Goneril and Regan's answers are descriptive and sound somewhat phony, but Lear is flattered by them. Cordelia's response of nothing is honest; but her father misunderstands the plea and banishes her. Lear's basic flaw at the beginning of the play is that 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. Similarly, his test of his daughters demonstrates that he values a flattering public display of love over real love. He doesn't ask "which of you doth love us most," but rather, "which of you shall we say doth love us most?" (I.i.49). It would be simple to conclude that Lear is simply blind to the truth, but Cordelia is already his favorite daughter at the beginning of the play, so presumably he knows that she loves him the most. Nevertheless, Lear values Goneril and Regan's fawning over Cordelia's sincere sense of filial duty.
Shakespeare, William. King Lear. Eric A., McCann, ed. Harcourt Brace Jovanovick, Canada Inc., Canada. 1998
In the beginning of the play the reader learns that Lear is ready to give up his kingdom and retire from a conversation that two noblemen, Gloucester and Kent, are having. He asks his three daughters; Cordelia, Goneril, and Regan to express their love for him to help him make his decision as to who would inherit his kingdom. Cordelia has always been his “favorite” daughter and when asked how much she loved her father she does not lie to him and tells him “I am sure my love’s more ponderous than my tongue” (1363). Rather than being grateful for such love and honesty, Lear banishes her to France and divides his kingdom to his two other daughters. Kent does not agree with Lear’s decision and Lear banishes him too.
King Lear is a tragic story by William Shakespeare is a story of a man King Lear and his decision that led to his fate and the fate of others. With every tragic story comes a tragic hero. The tragic hero of the story is King Lear. According to the definition of a tragic hero one must be born into nobility, endowed with a tragic flaw, doomed to make a serious error in judgement, fall from great heights or high esteem, realize they have made an irreversible mistake, and faces and accepts death with honor meets a tragic death. King Lear meets all of these qualities.
Lear is an old retired king who certainly doesn’t deserve to treated in the manner his two ungrateful daughters have done so. Lear might have lacked personal insight in banishing his two most beloved people around him, and lacked self-control and discipline in controlling his temper, but there could be no reason to justify the immoral actions that Goneril and Regan had casted upon them. They dejected, abandonned, hurted and even wanted to kill their own father. To Lear, maybe the thing that hurts him the most is the fact that his two evil daughters are his own flesh and blood. Not only has he been stripped of love, pride and honour, he has also been driven crazy by them. Lear might not have been sinless, yet the faults casted upon him is far greater than what he had wronged.
In the tragedy “King Lear”, Shakespeare incorporates the superfluous usage of emotion as a general indication of irrationality and naiveness, whereas the usage of reason signals maturity, intelligence, and reality. Tired of the endless duties accompanied with the title of King, Lear planned to divide his empire into three sections, one section for each daughter. Dominated by a need for sentimental flattery, Lear simple-mindedly decides to give his largest realms to the daughter whose proclamation of love is the most embellished and honeyed. From the merging of emotion and reason, Shakespeare is able to center his play on the torments accompanied by the appearances betrayal, madness, and chaos. Though goodness is interwoven within the play, evil and the flaws of human nature are also included. In the end, it is hard to determine which triumphs.