...King Lear as a Tragedy One of Shakespeare's most celebrated plays, King Lear, contains many of the components that classify it as a tragedy. These criteria were set by a critic of Shakespeare, A.C. Bradley. Of the seven that he composed, three very strongly apply to the work King Lear. The first is that the central character is an exceptional being. Another includes that there is an outward conflict in the story, and also an inner conflict within the hero. The final component of a tragedy is that the hardships of the tragedy are caused by the actions of man, not from outside forces. The main tragic hero of the play King Lear is the character King Lear. Obvious from the title, Lear is a king. He has ruling power over England. Not only does he have command over a country, he also has power over the people around him. At the start of the play he is able to inspire fear into his daughters and those serving him. Beyond fear, he also has subjects that are loyal. Both Gloucester and Kent sacrifice themselves for King Lear. Kent is banished from the country and instead of being angry, he returns to continue serving King Lear. Gloucester also sacrifices his eyes and puts his life on the line in order to be loyal to his king. It takes an...
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...“Some people think that the ending of King Lear is ‘unbearably pessimistic’. How far do you agree that there is no hope at the end of this play? The origins of Shakespeare’s play came from a variety of sources and, in particular, an old Pagan folktale, of another King Leir of Britain. It reveals that Shakespeare purposely turned these sources which offer a happy ending where Cordelia and Leir are left alive and together at the end and where everything is resolved, leaving the audience with a sense of relief and justice, into a bleak and sinister play where many of the virtuous die, including Cordelia and Lear, or are left in despair like Kent. Shakespeare’s change of ending appears to hint at a message of pessimism, darkness and no hope. Some people believe that it was Shakespeare’s intention to create a hopeless and pessimistic ending and leave the audience overwhelmed with tragedy. Indeed, W.R. Elton supports this final interpretation: ‘No redemption stirs at this world’s end; only suffering, tears, pity and loss and illusion.’ However, others believe that Shakespeare leaves little glimmers of optimism flickering in this ‘gored state.’ Shakespeare carefully structures that play to build a mood of pessimism as the play unravels towards its climax. Kent’s character plays a vital role in helping create this final bleak mood. Throughout the play Kent has been a positive, hopeful character devoted to his King: ‘let me still remain the true blank of thine eye.’ By this final scene...
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...Analysis of King Lear King Lear, by William Shakespeare, is a tragic tale of filial conflict, personal transformation, and loss. The story revolves around the King who foolishly alienates his only truly devoted daughter and realizes too late the true nature of his other two daughters. A major subplot involves the illegitimate son of Gloucester, Edmund, who plans to discredit his brother Edgar and betray his father. With these and other major characters in the play, Shakespeare clearly asserts that human nature is either entirely good, or entirely evil. Some characters experience a transformative phase, where by some trial or ordeal their nature is profoundly changed. We shall examine Shakespeare's stand on human nature in King Lear by looking at specific characters in the play: Cordelia who is wholly good, Edmund who is wholly evil, and Lear whose nature is transformed by the realization of his folly and his descent into madness. The play begins with Lear, an old king ready for retirement, preparing to divide the kingdom among his three daughters. Lear has his daughters compete for their inheritance by judging who can proclaim their love for him in the grandest possible fashion. Cordelia finds that she is unable to show her love with mere words: "Cordelia. [Aside] What shall Cordelia speak? Love, and be silent." Act I, scene i, lines 63-64. Cordelia's nature is such that she is unable to engage in even so forgivable...
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...Can King Lear be defined as an Aristotelian Tragedy ? When viewing upon a tragedy, a reader is offered to empathize the suffering a character endures through pity and fear, yet still being able to feel that enticing pleasure. With this being said, King Lear can be defined as a tragedy even by Aristotle, one of the most renowned masterminds on tragedies. Based on the Aristotelian principles for a tragedy, the ‘perfect’ tragedy must contain plot, character, diction, thought, spectacle and song. King Lear echo’s Aristotle’s concept of tragedy, as the accepted king with that disastrous flaw in his character and that evokes understanding of the audience. Shakespeare's play sets King Lear to be the ruler of Britain, where he is highly-esteemed by people below him in social status. His reputation corresponds with Aristotle’s definition of the ‘tragic hero’, who must be of noble blood. and considered great amongst their surroundings. The tragic hero, said Aristotle, should not be ‘a virtuous man brought from prosperity to adversity: for this moves neither pity nor fear; it merely shocks us’. Lear is a delusional victim caught in his own self-deception; his desires for power and genuine affection push him from direct order and power into over-the-edge chaos. King Lear shows his first sign of quenching for affection when he requests that his three daughters to express how much they love him before he gives away his rule, and duties of his kingdom so that all the kingdom’s...
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...The Deception in King Lear William Shakespeare's play King Lear is a play full of deceit and betrayal. This becomes evident in the first few lines. We first learn of the empty words of Goneril and Regan as well as their hatred for their father, King Lear. This becomes the center of the play and also leads to the madness that the king suffers from. The first words that Goneril speaks are totally empty and are the complete opposite of what she really feels. She says, "Sir, I love you more than word can wield the matter; Dearer than eye-sight, space and liberty;" (I.i.54-55) The reason why there are no words to express her love for her father is that she has no love for him and it does not exist. The same goes for her sister, Regan, who is plotting against her father as well. She says that she feels the same way as her sister and expresses how Goneril has named her very deed of love. Regan adds a little twist to this and professes that she loves Lear more than her sisters and that Goneril's affection for her father "comes too short." (I.i.71) By uttering these words, Regan shows that her love is even less true than that of her sister's. She goes even farther to say: "...that I profess Myself an enemy to all other joys Which the most precious square of sense possesses, And find I am alone felicitate In your dear highness' love." I.i.71-75 This goes to show that she is more greedy than her sister and her words are also falser. She wants more than her sister and will do anything...
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...throughout the world, the works of William Shakespeare have been performed, taught, and studied for more than 400 years. William Shakespeare was born in 1564 to a successful middle-class glove maker in Stratford Upon-Avon, and created the play “Macbeth” in 1606. In 1582 William at the age of 18, married an older woman named Anne Hathaway. They had three children, Susanna, Hamnet and Juliet. Their only son Hamnet died aged just 11. By the early Seventeenth Century, Shakespeare had begun to write plays in the genre of tragedy. These plays, such as Hamlet, Othello, Macbeth and King Lear, often hinge on some fatal flaw in the lead character, and provide intriguing insights into the darker aspects of human nature. You can now see where this comes into play in other situations Macbeth is a play of contradiction and ambition. Macbeth, a well-known war general driven to become King, killed not only King Duncan to receive his kingship, but also all the heirs to the thrown which happened to be Banquo’s sons. After encountering three sagacious witches crossing a moor, he puts his faith in the words and prophesies of the three witches after there first prophecy comes true. Macbeth's wife, Lady Macbeth, is instrumental in Macbeth's ambition. She lodges her own keen objectives on to Macbeths will, which is to achieve more power. With doing so, she eggs him on when he fears he has...
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...A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF WILLIAM SHAKESPEARE’S ROMEO AND JULIET By ARTHEA J.S. REED, PH.D. S E R I E S W. GEIGER ELLIS, ED.D., E D I T O R S : UNIVERSITY OF GEORGIA, EMERITUS and ARTHEA J. S. REED, PH.D., UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s Romeo and Juliet 2 INTRODUCTION William Shakespeare’s Romeo and Juliet is an excellent introduction to Shakespearean drama; teenagers can relate to its plot, characters, and themes. The play’s action is easily understood, the character’s motives are clear, and many of the themes are as current today as they were in Shakespeare’s time. Therefore, it can be read on a variety of levels, allowing all students to enjoy it. Less able readers can experience the swash-buckling action and investigate the themes of parent-child conflict, sexuality, friendship, and suicide. Because of the play’s accessibility to teenagers, able readers can view the play from a more literary perspective, examining the themes of hostility ad its effect on the innocent, the use of deception and its consequences, and the effects of faulty decision making. They can study how the characters function within the drama and how Shakespeare uses language to develop plot, characters, and themes. The most able students can develop skills involved in literary criticism by delving into the play’s comic and tragic elements and its classically...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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...Desdemona. Othello is a black man, known throughout the play as a Moor and he marries the daughter of a white Venetian Senator. One of the most critical themes of the play is race. While racism is a reoccurring theme throughout the play, the play itself is not racist. The main character is a black man and the evil villain is white. Shakespeare does not dumb down Othello just because he is black, but rather he portrays Othello as a well-liked, high ranking officer in the Venetian military. During the time that Shakespeare wrote Othello many people were racists and people of color where thought of as savage (Essay). Many people at that time would have felt that an interracial marriage was wrong. They would have not thought that Shakespeare’s writing was racist. The audience would be used to the type of racist language Shakespeare used (Blum). Shakespeare would not have been thought of as being racist. The play itself is not racist, but rather individual characters are either racist or not. The most racist character is Iago. Iago is considered “honest” when in reality he is a pure villain. The audience knows that Iago is not what he seems to be. He shares his plans for destroying Othello. Even though Iago is white, he plays the bad guy, while Othello is considered a good man. Iago hates Othello because he did not promote him to his lieutenant. Iago also believes that Othello slept with his wife. “It is thought abroad that ’twixt my sheets / He has done my office”...
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...The Concept of the Outsider Literature often persecutes the most vulnerable, a person who lacks support and therefore power within society. Described by Terry Eagleton for The Guardian as the “literary mainstream”; these characters are often referred to as the Outsider due to their exclusion from the community in which the text is set. The characters who are referred to as Outsiders can be portrayed in different ways; their initial exclusion from society can ultimately lead to a narrative of their acquisition of power throughout the text but similarly, can portray a story of their maintenance of the minimal power they have over the course of the text’s plot. However, this is not to argue that some Outsiders presented within literature do not have power over the course of the development of the text so, as a consequence, remain excluded from the society. In this case, the text would then be considered an exposition of the character’s experience from their position in society rather than the author’s attempt of trying to integrate their character into society through their work. Furthermore, the author themselves may be considered an Outsider through their own status in society; they command their readers to be Outsiders themselves within the novel. As well as to read and observe the narrative in order to emulate the same feeling within themselves, within the reader or to have a specific impact on the issues surrounding humanity at the time. The contrast in the ways in which...
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...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
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...Ben Jonson (1572–1637). The Alchemist. The Harvard Classics. 1909–14. | | | | |Introductory Note | | | | | |BEN JONSON was born of poor parents at Westminster in 1573. Through the influence of Camden, the antiquary, he got a good | 1| |education at Westminster School; but he does not seem to have gone to a University, though later both Oxford and Cambridge gave | | |him degrees. In his youth he practised for a time his stepfather’s trade of bricklaying, and he served as a soldier in Flanders. | | | It was probably about 1595 that he began to write for the stage, and within a few years he was recognized as a distinguished | 2| |playwright. His comedy of “Every Man in His Humour” was not only a great immediate success, but founded a school of satirical | | |drama in England. “Sejanus” and “Catiline” were less popular, but are impressive pictures of Roman life, less interesting but more| | |accurate than the Roman plays of Shakespeare. ...
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...Beginning theory An introduction to literary and cultural theory Second edition Peter Barry © Peter Barry 1995, 2002 ISBN: 0719062683 Contents Acknowledgements - page x Preface to the second edition - xii Introduction - 1 About this book - 1 Approaching theory - 6 Slop and think: reviewing your study of literature to date - 8 My own 'stock-taking' - 9 1 Theory before 'theory' - liberal humanism - 11 The history of English studies - 11 Stop and think - 11 Ten tenets of liberal humanism - 16 Literary theorising from Aristotle to Leavis some key moments - 21 Liberal humanism in practice - 31 The transition to 'theory' - 32 Some recurrent ideas in critical theory - 34 Selected reading - 36 2 Structuralism - 39 Structuralist chickens and liberal humanist eggs Signs of the fathers - Saussure - 41 Stop and think - 45 The scope of structuralism - 46 What structuralist critics do - 49 Structuralist criticism: examples - 50 Stop and think - 53 Stop and think - 55 39 Stop and think - 57 Selected reading - 60 3 Post-structuralism and deconstruction - 61 Some theoretical differences between structuralism and post-structuralism - 61 Post-structuralism - life on a decentred planet - 65 Stop and think - 68 Structuralism and post-structuralism - some practical differences - 70 What post-structuralist critics do - 73 Deconstruction: an example - 73 Selected reading - 79 4 Postmodernism - 81 What is postmodernism? What was modernism? -...
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...Instructor’s Manual and Test Bank to accompany A First Look at Communication Theory Sixth Edition Em Griffin Wheaton College prepared by Glen McClish San Diego State University and Emily J. Langan Wheaton College Published by McGrawHill, an imprint of The McGrawHill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright Ó 2006, 2003, 2000, 1997, 1994, 1991 by The McGrawHill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves...
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...re tu ra li CAPE Modern te ng Languages Literatures nE e siniEnglish ur e at l er g it En sin ur e at er it L Caribbean Examinations Council ® SYLLABUS SPECIMEN PAPER CSEC® SYLLABUS,MARK SCHEME SPECIMEN PAPER, MARK SCHEME SUBJECT REPORTS AND SUBJECT REPORTS Macmillan Education 4 Crinan Street, London, N1 9XW A division of Macmillan Publishers Limited Companies and representatives throughout the world www.macmillan-caribbean.com ISBN 978-0-230-48228-9 © Caribbean Examinations Council (CXC ®) 2015 www.cxc.org www.cxc-store.com The author has asserted their right to be identified as the author of this work in accordance with the Copyright, Design and Patents Act 1988. First published 2014 This revised version published 2015 Permission to copy The material in this book is copyright. However, the publisher grants permission for copies to be made without fee. Individuals may make copies for their own use or for use by classes of which they are in charge; institutions may make copies for use within and by the staff and students of that institution. For copying in any other circumstances, prior permission in writing must be obtained from Macmillan Publishers Limited. Under no circumstances may the material in this book be used, in part or in its entirety, for commercial gain. It must not be sold in any format. Designed by Macmillan Publishers Limited Cover design by Macmillan Publishers Limited and Red Giraffe CAPE® Literatures...
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