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Social Illusion VS Natural Reality: King Lear and Brave New World In both the play King Lear by William Shakespeare and the novel Brave New World by Aldous Huxley, the authors contrast social illusion with natural reality to reveal humanity’s mistake in believing that civilization aids the savages.
In both King Lear and Brave New World, the authors share the idea of social illusion in conflict with the natural reality. This is evident in King Lear when Lear, Kent, the Fool and Edgar take shelter in a hovel and Lear starts to question the creation of humanity:
Is
man no more than this? Consider him well. Thou owest the worm no silk, the beast no hide, the sheep no wool, the cat no perfume. Ha! Here’s three on’s are sophisti-
cated!
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(III.iv.107-113)
Lear begins to realize the fact that underneath the expensive clothes, there is a weak human being like any other. People in the society are judged and given a higher position based on how much luxury they have rather than for what they are. On the other side, regardless of how wealthy and powerful one is, one cannot escape from natural causes such as death. This reveals that even though there are boundaries between rich and poor people, they are all the same when it comes to issues like old, diseases and death. Hence, titles and clothes are the social illusions that separate humans in the name of the value and importance. Society also considers people with torn or poor clothes to be unimportant, while the ones with expensive clothes are considered valuable. The Fool calls Lear “fool” because the Fool clearly sees that Lear has lost his power. This is evident when the Fool points out that Lear has given away “All thy other titles thou hast given away; that/ thou wast born with” (I.iv.147-148). Lear no longer has the power and the title of a king since he has given his kingdom to his two daughters. Oswald, who is the chief servant in Goneril’s house, calls Lear “my lady’s father” rather than calling him a
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Firstly, in King Lear, Shakespeare uses the idea of social illusion to develop ideas around civilization and torture. When Lear, Kent and the Fool find a hovel, Lear stands in the rain and starts praying for the “poor naked wretches, wheresoe’er you are,/ That bide the pelting of this pitiless storm” (III.iv.35-36). Lear becomes more compassionate for the poor when he leaves his kingdom. In King Lear, there are two main settings; the kingdom and the heath. When Lear loses his place in civilization, he changes from an uncaring king to a caring person. Civilization is supposed to encourage righteous actions towards humans, while nature is supposed to encourage animalistic behaviour. Lear’s change proves that the Kingdom is a place of torture whereas nature is a space that allows for characters to grow into compassion and kindness, traits usually associated with civilization. This is evident when Lear’s daughters betray him and he says, “The little dogs and all/ Tray, Blanch, and Sweetheart, see, they bark at me” (III.vi.63-64). Lear’s statement supports that his daughters are torturing him and not deferring to what he believes is his importance. However, Lear is not the only person who has made this realization. Edgar, who is Gloucester’s eldest son, also changes his view once he leaves
Timothy Findley and Shakespeare use the theme of appearance versus reality in their texts: The Wars and King Lear. Characters in the novel and the play: Robert, Goneril, and Regan, intentionally appear to be something they are not in order to achieve a goal. However, they differ in where it leads them by the end, as in King Lear the characters die, unlike in The Wars where Robert cannot escape his true self and goes back to follow his personal morality.
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...
In Aldous Huxley’s Brave New world and William Shakespeare's King Lear, the reader will find that both works use similar motifs that mirror each other to increase further the similarities and
Lear's dialogue with Cordelia on "nothing" introduces yet another theme in the play's imagery, echoing, among other scenes, some of his later conversations with the Fool (I.iv.130 "Can you make no use of nothing, nuncle?") and others. Indeed, King Lear is, in many ways, about "nothing." Regan and Goneril seem to offer much in the beginning, but after whittling down the number of Lear's knights, they leave him with nothing, and in the end their "natural" affection comes to nothing as well. Lear is progressively brought to nothing, stripped of everything -- kingdom, knights, dignity, sanity, clothes, his last loving daughter, and finally life itself.
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
... 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 play of "King Lear" is about a search for personal identity. In the historical period in which this play is set, the social structure was set in order of things closest to Heaven. Therefore, on Earth, the king was at the top, followed by his noblemen and going all the way down to the basest of objects such as rocks and dirt. This structure was set up by the people, and by going by the premise that anything that is man made is imperfect, this system cannot exist for long without conflict.
Absolute in every child’s mind is the belief that they are right, despite all the evidence to the contrary. Until children grow up to raise children own their own, a parent’s disputation only inflates that desire to prove. Part and parcel to this, as one may find out through personal experience or by extension, cruelty towards parents is a reflection of a child’s own inadequacy (whether in large or small scale). In this sense, King Lear is a story of children with a desire to break past their hierarchal status. Whether it is the belief that a woman shall take a husband, and with that guard her inherited land, or what role bastards truly deserves in a society that preemptively condemns them. Cruelty at the hands of children accounts for almost
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.
Huxley 's Brave New World is an arrogant vision of a future that is cold and discouraging. The science fiction novel is dystopian in tone and in subject matter. Paradox and irony are the dominant themes used within the novel to suggest the negative impact of excessive scientific and technological progress on man and his relationship with the natural world, very similar to today 's society. It links to the title which was created from the Shakespearean play called The Tempest using the famous quote ‘O’ Brave New World’ but instead of referring to an island paradise, it now describes a nightmare of a place full of mockery for being equal and overbearing control among one another.
Lear character completely because of their inability to see people, both physically and mentally. This ignorance makes you think irrationally and make erroneous judgments. Although Lear is not really blind, his vision is something that is outside does not understand the identity and that of those around him. Early in the game, asks his three daughters, he loves the most, to share his inheritance. However, the opinions and the results of the blind Lear in his perception deceived by false words of love, and insensitive to Cordelia tells the truth, forcing him to ban his beloved daughter Cordelia and divided his inheritance of his unworthy girls. When Lear rejects Cordelia said: " We have no such daughter, nor shall never see / her face again (I , I , 1211 ) . Ironically, Lear Cordelia watched the face before, but I could not see banished. Moreover, Lear Shakespeare is taken to describe the idea that the form does not guarantee future.
It is important to distinguish the concept of nature present in King Lear from the imagery it invokes in modern culture of picturesque forests teeming with every sort of adorable squirrel and chipmunk imaginable. As Sarah Doncaster puts it in her essay “Representations of Nature in Shakespeare’s King Lear,” nature in Shakespeare’s hands, “is a social construct, which is utilized in order to legitimise the existing social order.” The notion that a...
This new Lear is certainly a far cry from the arrogant king we saw at the beginning of the play. Shakespeare has transformed Lear from an ignorant old king into some sort of god, using a seven stage process: resentment, regret, recognition, acceptance and admittance, guilt, redemption, and optimism. Lear’s transformation can be simply described as a transition from blindness into sight, he did not see the value in listening to others, but in the end he gained a sense of optimism and idealism. There is no doubting that Shakespeare has portrayed Lear as a flawed figure, who, through his misfortune and suffering, goes from a contemptuous human being to one who has been purified into an omniscient, godly type character, proving that ignorant people can truly change to become caring individuals.
Throughout Shakespeare's story of King Lear, readers might see a similarity between King Lear and Gloucester. Initially, you feel as if King Lear and Gloucester are, in a sense, bad people for abandoning the individuals that care about them the most. King Lear banishes his daughter Cordelia because she doesn’t express her love for Lear the way he wants her to and he also banishes Kent for standing up for Cordelia in saying that she truly loves Lear the most. Gloucester banishes his son Edgar because he is manipulated by his illegitimate son Edmund into thinking that Edgar is trying to murder him so that he can take his throne. In the beginning, I feel as if King Lear is insecure and has poor judgment while Gloucester is easily influenced and very naive. Towards the end of the play, my opinions on both Lear and Gloucester changed. I began to feel sympathy towards them once they started going through traumatic events. Towards the end of the play, King Lear becomes a humble and caring individual while Gloucester later proves how he is capable of great bravery. In the end, it seems as though both Lear and Gloucester die from the guilt and sorrow that comes from the traumatic events that they experience. One might suggest that they both die from a broken heart.
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,