Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Critical explanation of king lear
King lear and social status
King lear as a tragedy
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Critical explanation of king lear
As Shakespeare presents to us a tragic pattern of parental and filial love, in which a prosperous man is devested of power and finally recognises his "folly", empathy is induced in the audience. In "King Lear", it is noted from the beginning of the play that both Lear and Gloucester suffer from self-approbation and will consequently find revelation by enduring "the rack of this tough world". While Lear mistakenly entrusts the shallow professions of love from his "thankless" daughters - Goneril and Regan - instead of the selfless words of Cordelia, Gloucester shadows a similar ignorance by initially entrusting love in the evil Edmund, rather than Edgar, whom we consider to be a "truly" loyal "noble gentlemen".
Undeniably, both parents misjudge appearance for reality, as it is only in this way that they can "let the great gods that keep this dreadful pudder O'er [their] heads / Find out their enemies" where "all vengeance comes too short". When Lear is rejected by Goneril and Regan and stripped of his "hundred Knights and squires", he is left with "nothing" in the wilderness, besides the loyal company of Kent and the Fool, and later on, Edgar and Gloucester. It appears that at this stage he senses his "folly", that he "did [Cordelia] wrong". But Lear has yet to gain full insight. Although, before entering the hovel, he realises that he has been a "man more sinned against sinning", the process of self-discovery is not complete until all truth is unveiled. As Lear realises his foolishness in bannishing Cordelia - his "joy" and the only daughter who truly loves him - we sense Lear's increasing sorrow and despair. By revealling his "sin", he is subjecting himself to punishment. Perhaps it is a deserving motion, since he had passed judgement and punished Kent and Cordelia for coming between "the dragon and his wrath", that is, him and his power. Now the gods above rightfully control Lear's destiny, abiding by the process that man has to suffer to gain peace.
At this particular moment, Lear is still unaware of Kent's identity, disguised as Caius, ever since he bannished Kent for defending Cordeila's thoughtful choice to "love and be silent". We understand that the disguise is a way in which Kent can protect and continually serve the "poor, weak and infirm" Lear. Lear begins to accomplish understanding through the change in his contemptuous behaviour to a sympathetic learning man.
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
"Unhappy that I am I cannot heave My heart into my mouth. I love your Majesty According to my bond; nor more nor less. " I.i.87-89 Cordelia's refusal to flatter her father during the love test may suggest to the audience that she is not only disobeying her father, but also committing political sui... ... middle of paper ... ..., is one of great pain and sorrow. It eventually leads Lear to madness and it is only then that he sees the true reasons behind his treatment.
The chaos that occurs in "King Lear" is due the reshaping of bonds within the society. Thus naturally, bonds must be broken, kept and most importantly, formed. This rearrangement of bonds is necessary to Lear understanding his personal identity. Bonds that are broken include those relations between King Lear and his two eldest daughters (Regan and Goneril), between Glouster and Edmund and also between Edmund and Edgar. Lear and Cordelia; Lear and Kent; Glouster and Edgar include those bonds that are existent at both the beginning and conclusion of the play. By the ending of the play, Lear is able to come to terms with himself and with nature.
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
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
Shakespeare’s treatment of illegitimacy in the play King Lear can be interpreted in many ways depending on the audience. The situation of illegitimacy is portrayed through the relationships of the characters the Earl Of Gloucester and his two sons Edgar and Edmund. Edmund is the illegitimate son while Edgar was born within the law. We learn of Edmund’s illegitimacy in the opening scene in the first act where The Earl of Gloucester is holding a conversation with Kent while Edmund is nearby. Gloucester speaks flippantly and lightly of the way his illegitimate son came into the world while introducing him to Kent saying, “ Though this knave came something saucily into the world before he was sent for, yet his mother was fair, there was good sport at his making, and the whoreson must be acknowledged” (Act I, Scene I, Lines 19-24). There are several peculiar things about this dialogue. One of the interesting aspects of Gloucester and Kent’s discussion is the readiness of Gloucester to admit he has fathered a child out of wedlock. This may be influenced by the fact that Edmund had obviously grown into a son that a father would be proud to have. At first meeting he seems polite, courteous, and loyal. Perhaps these admirable character traits are cause for Gloucester’s willingness to publicly claim Edmund as his own. Another unusual occurrence in the opening dialogue is that Gloucester calls Edmund a whoreson and a knave while he is close by and probably in hearing distance. This seems odd because Gloucester professes to feel only love for his son and no shame but he seems to almost mock him in this situation. One explanation for this behavior may be that deep down Gloucester still harbors some discomfort about the relationship between himself and his son despite his verbal proclamations of shamelessness. This could be inferred from Gloucester’s statement, “ His breeding, sir, hath been at my charge. I have so often blushed to acknowledge him that now I am brazed to ‘t.” (Act I, Scene I, Line 9). Again, depending on the audience the attitudes displayed in the play by the characters and Shakespeare himself by his writing can be interpreted in a variety of ways depending on the observer.
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.
Following this Lear begins to banish those around him that genuinely care for him as at this stage he cannot see beyond the mask that the evil wear. He banishes Kent, a loyal servant to Lear, and his youngest and previously most loved daughter Cordelia. This results in Lear surrounding himself with people who only wish to use him which leaves him very vulnerable attack.
In Shakespeare's “King Lear”, the tragic hero is brought down, like all tragic heroes, by one fatal flaw; in this case it is pride, as well as foolishness. It is the King's arrogant demand for absolute love and, what's more, protestations of such from the daughter who truly loves him the most, that sets the stage for his downfall. Cordelia, can be seen as Lear’s one true love, and her love and loyalty go not only beyond that of her sisters but beyond words, thus enraging the proud King Lear whose response is: "Let pride, which she calls plainness, marry her". Here, Lear's pride is emphasized as he indulges in the common trend of despising in others what one is most embarrassed of oneself.
There are billions of people in the entire world, however, chances such as certain individual shares the same personality, height, or hobbies of other people who live in the opposite extreme of the globe is ultimately bizarre. In a similar idea, a William Shakespeare’s play, entitled King Lear demonstrates the similarities of people, particularly through the work of relativeness that runs in blood. The play revolves around King Lear and his three daughters, along with a parallel sub-plot of Gloucester and his two sons. Mainly, Lear banishes and disowns Cordelia, one of his daughters, and grants the other two, Goneril and Regan with his inheritance and power. But unfortunately, Goneril and Regan eventually betrays Lear, whereas Cordelia comes back to save him. Also, the play corresponds to a well-known phrase, “like father, like daughter”, which genuinely refers to Lear and his daughters. Altogether, King Lear’s existence as a father projects distinguishable affinities between his and the lives of his daughters. The father and daughters’ similarities vary solely depending on how the characters exhibit their actions through their own will.
Throughout most of King Lear, Lear's vision is clouded by his lack of insight. Since he cannot see into other people's characters, he can never identify them for who they truly are. When Cordelia angers Lear, Kent tries to reason with Lear, who is too stubborn to remain open-minded. Lear responds to Kent's opposition with, "Out of my sight," to which Kent responds, "See better, Lear, and let me still remain" (I.i.160). Here, Lear is saying he never wants to see Kent again, but he could never truly see him for who he is. Kent was only trying to do what was best for Lear, but Lear could not see that. Kent's vision is not clouded, as is Lear's, and he knows that he can remain near Lear as long as he is in disguise. Later, Lear's vision is so superficial that the physical garments and simple disguise that Kent wears easily dupe him. Lear cannot see who Kent really is. He only learns of Kent's noble and honest character just prior to his death, when his vision is cleared. By this time, however, it is too late for an honest relationship to be salvaged.
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.
The reader discovers Kent's willingness to protect his King in the first scene. After Lear has had his daughter's display their love in a pubic competition Kent tries to persuade him that Cordelia "does not love him least" and that Lear should think about banishing her. Kent is trying to protect the King from his emotions and the decision that they have led him to. But Lear does not listen and instead banishes Kent from the Kingdom. His banishment is a result of another emotional outburst on the part of the King. If Lear were to look rationally at his actions and what his daughters have said he would realize his folly. Instead he is enraged by Kent and thinks that he is challenging his authority.
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...