Self-Discovery in King Lear
Halfway down
Hangs one that gathers samphire, dreadful trade!
Methinks he seems no bigger than his head:
The fisherman that walk along the beach
Appear like mice.
Although this quote from Shakespeare's King Lear is made by Poor Tom to
his unknowing father Gloucester about the terrain far below them, it accurately
summarizes the plight of the mad king. Lear is out of touch with his
surroundings, riding high upon the wave of power associated with the monarchy:
even those closest to him are out of reach, viewed with a distorted lens. It
is through this lens of madness that Lear views his friends and family, and thus
he is stripped of everything before he can realize the folly of his judgment.
Reduced to a simple man, Lear is forced to learn the lessons that God's anointed
is already supposed to know. This is the purpose of the secondary characters of
King Lear; they serve to show the many complex facets of Lear's complex
personality, as they force him to finally get in touch with his self-conscious.
For example, the Fool, oddly enough, acts as the voice of reason for the
out-of -touch King. He views events critically and thus seems to foreshadow
situations that an ignorant Lear is completely oblivious to. This is evident in
act 1, scene 1, when a prodding Fool asks the king if he knows the difference
between a bitter fool and a sweet fool. When Lear admits that he does not, the
Fool attempts to lay it all out in front of him:
That lord which councelled thee
To give away thy land,
Come place him here by me;
Do thou for him stand.
The sweet and bitter fool
Will presently appear;
The one in motley here,
The other found out there.
The Fool attempts to show the king the folly of his ways. He is essentially
calling Lear a bitter fool, insinuating that his foolishness will be the cause
of such bitterness. This comment is taken lightly, but only because the Fool is
a satire of the king himself, and thus is the only one allowed to criticize him.
Lear has a preconceived notion that he will be able to give up all of his land
and his throne, and yet still somehow hold on to the power that he is so
accustomed to.
Alas, the king does not listen. He continues to believe he still has the
power that he has long since conceded. He does not believe that by deviding the
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.
In his kingdom Lear was practically a god, but he was a god that knew nothing of morals, humanity, personal identity, or love. Lear forces his daughters into open displays of verbal affection for the sole purpose of flattery. Lear’s self-centered mindset is amplified in his speeches to Cordelia after she refuses to participate with hyperbolic love. In his rage Lear says, “he that makes his generation messes / To gorge his appetite, shall to my bosom / Be as well neighbored, pitied, and relived / As thou my sometime daughter” (I.i.130-134). Lear feels closer to Satan than his own daughter since the cannibal that feeds on his children is Lear himself. Lear’s daughters are reduced to the status of food; they do not exist beyond the feeding of his ego. Lear continues with his tirade as he proclaims “I loved her most and thought to set my rest / On her kind nursery” (I.i.137-138). To Lear love is synonymous with being a caretaker. Lear does not understand love beyond utility. Before his tragic
In Chapter 4 of a book titled Escape from Freedom, the famous American psychologist Erich Fromm wrote that "Greed is a bottomless pit which exhausts the person in an endless effort to satisfy the need without ever reaching satisfaction" (Fromm 98). Fromm realized that avarice is one of the most powerful emotions that a person can feel, but, by its very nature, is an emotion or driving force that can never be satisfied. For, once someone obtains a certain goal, that person is not satisfied and continues to strive for more and more until that quest leads to their ultimate destruction. For this reason, authors have embraced the idea of greed in the creation of hundreds of characters in thousands of novels. Almost every author has written a work centered around a character full of avarice. Ian Fleming's Mr. Goldfinger, Charles Dickens' Scrooge, and Thomas Hardy's John D'Urberville are only a few examples of this attraction. But, perhaps one of the best examples of this is found in William Shakespeare's King Lear. Edmund, through his speech, actions, and relationships with other characters, becomes a character consumed with greed to the point that nothing else matters except for the never-ending quest for status and material possessions.
...wo of them as “God’s spies” (Lear, V.3.17). This is the first time that Lear refers to God rather than a god or gods. In this metaphor, he and Cordelia are God’s employees and dependents rather than a necessary part of a natural order. He does not form his divine reference as an oath; he neither commands nor supplicates. It is a sweet vision and a sharp contrast to Lear’s earlier invocations of the gods. Were there some divine preceptor bent on teaching Lear an earthly lesson, he could safely say that it was learnt. But the play, of course, continues. What is important, finally, is not that Lear learns, but that we the audience learn. One of the most important aspects of this learning is anticipated by Kent, who first points out that any invocation of Jupiter can be countered by an opposite invocation of Juno to the same effect, which is to say none at all.
Society favors the outlaw hero because we relate with that character more. We see ourselves more so in the outlaw hero than in the official hero. The outlaw hero has the child like talents that most of us wish we had as adults. To civilians it may seem that the outlaw hero lives more of a fantasy life that we all wish to have. Superman’s image has remained unchanged over the years. A blue suit accompanied by boots, a belt and cape have always been the Superman style, along with the Superman emblem on his chest. Superman’s real name is Kal-El, a descendant of the Kryptonian family of the house of El, with his father known as Jor-El and mother Lara. Krypton was discovered to be in the last seconds of life due to the coming supernova of its sun by Kal-El’s father. The other members of Krypton did not believe Jor-El could not tell others of his answers and examinations. Jor-El promised that neither he nor his wife would leave and with every last possible choice eliminated, Jor-El would send his newborn son to the planet Earth. Kal-El then crash landed into the care of Jonathan and Martha Kent, two farmers in Kansas. He then adopted the Kent family name,...
(Act I, Sc i, Ln 47-53) This is the first and most significant of the many sins that he makes in this play. By abdicating his throne to fuel his ego he is disrupts the great chain of being which states that the King must not challenge the position that God has given him. This undermining of God's authority results in chaos that tears apart Lear's world. Leaving him, in the end, with nothing.
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...
undergoes a redeeming reversal of character. Lear slowly starts to go mad, Lear. O, let me not be mad,
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.
In Shakespeare’s King Lear, the Fool is a source of chaos and disruption in King Lear’s tumultuous life. The Fool causes the King distress by insulting him, making light of his problems, and telling him the truth. On the road to Regan’s, the Fool says “If thou wert my Fool, nuncle, I’d have thee / beaten for being old before thy time.” (1.5.40-41). He denies the king the respect due to him as an aged King, causing the King to wonder at his worthiness. The fool also makes light of Lear’s qualms making snide remarks in response to Lear’s ruminations. When Lear asks Edgar cryptically, “wouldst thou give ‘em all?” the Fool responds, “Nay, he reserved a blanket, else we had been all shamed” (3.4.69-72). The Fool’s snide remarks do little to maintain Lear’s fragile control of his faculties. However, the Fool speaks to the king candidly, a rare occasion in Lear’s life. Even Kent acknowledges the truth of the Fool’s statements, saying, “This is not altogether fool, my lord” (1.4.155).
...world has been turned upside-down, his master has now slipped into absolute madness and is beyond the fool’s help. He no longer serves a purpose to the king, and predicts both his, and - as he has shared his fate to this point - Lear’s death with his final line in the play:
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.
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
Bengtsson, Frederick. “King Lear by William Shakespeare.” Columbia College. N.p., n.d. Web. 19 Apr. 2015.
Architecture has changed immensely throughout the course of history. I will start of by saying architecture is the art or practice of designing and constructing buildings. Therefore that said we have improved our way of building structures to make them last and look magnificent. All through this essay I will discuss how architecture has changed throughout history in four sections. The first section will cover architecture from the 10,000 B.C.E to 1 C.E. Second section will cover architecture from 1 C.E to 1,000 C.E. The third section will cover architecture from 1 C.E to 1,800 C.E. Last but not least the fourth section will cover architecture from 1,800 C.E to current day. Throughout all of these time periods architects have played a big role in architecture from Michelangelo to Ludwig Mies, they have all made a contribution to the beautiful art that is architecture.