King Lear: Shakespeare’s almost Tragic Figure
A tragic figure is often defined as an individual that is of noble birth, such as a king or other member of nobility. The individuals around them always respect them, however, they are often responsible for their own downfall, which will eventually lead to their death. Although the play King Lear can be considered one of William Shakespeare’s greatest tragedies, the character King Lear himself, lacks the ability to bring forth feelings of pity within the reader or viewer, thus causing Lear to fall short of also being Shakespeare’s greatest tragic figure. Lear is shown throughout the play as being an egotistical man, and he is seen executing a variety of actions that lead to the reader feeling hate instead of pity, a crucial element that makes a tragic figure.
To begin, King Lear makes the conscious decision to split up his land, but he choses the most egotistical way to decide which of his daughter’s received which piece of land. Near the beginning Lear says, “Which of you shall say we doth love us most,/ that we our largest bounty may extend/ Where nature doth with merit challenge,” (I.i.52-54). This quotation demonstrates how Lear was constantly seeking ways to build his ego, and was looking for reassurance that he was still the best man that he could be. It proves to the reader or viewer that Lear is clearly not in his right mind. Demonstrating that maybe this character cannot be trusted, as a true king would not be likely to enact this type of behaviour. Society has trained most individuals that someone who constantly seeks attention is not an individual that anyone should want to associate with. Lear’s attitudes in regards to giving up his land to his daughter’s show that he ne...
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... crucial trait of a tragic hero.
Overall, while King Lear is able to fit many of the criteria of a tragic figure, such as being arrogant and noble, and also being responsible for his own downfall that leads to his own catastrophic end, he does not execute being a tragic figure well as he is missing the ability to draw pity from those following his story. Through Lear’s careless distribution of land, and the disowning and disrespect of Cordelia, Kent and the fool and the fact that he never understands and is remorseful for the tragedies that he caused, he is unable to become the true tragic figure he could have been. If King Lear had been able to make a change along the way and think about his actions and treatments of people, he would have been able to cause people to feel pity for him, which would have made him William Shakespeare’s greatest tragic figure.
King Lear's hot temper and hasty decisions play a significant role in his fall from grace. His old age has caused him to behave impulsively, without any consideration for the consequences of his actions. When Lear asks his devoted daughter Cordelia to express her love for him, he becomes upset with her because she cannot put her feelings into words. He does not realize that she cares deeply for him and disowns her by saying, "Here I disclaim all my paternal care, propinquity and property of blood, and as a stranger to my heart and me hold thee from this for ever (1.1.120-123)." It is only later, when Cordelia has left him, that Lear realizes he had made a wrong decision. In another fit of rage, Lear ...
In The Tragedy of King Lear, particularly in the first half of the play, Lear continually swears to the gods. He invokes them for mercies and begs them for destruction; he binds both his oaths and his curses with their names. The older characters—Lear and Gloucester—tend view their world as strictly within the moral framework of the pagan religion. As Lear expresses it, the central core of his religion lies in the idea of earthly justice. In II.4.14-15, Lear expresses his disbelief that Regan and Albany would have put the disguised Kent, his messenger, in stocks. He at first attempts to deny the rather obvious fact in front of him, objecting “No” twice before swearing it. By the time Lear invokes the king of the pagan gods, his refusal to believe has become willful and almost absurd. Kent replies, not without sarcasm, by affixing the name of the queen of the gods to a contradictory statement. The formula is turned into nonsense by its repetition. In contradicting Lear’s oath as well as the assertion with which it is coupled, Kent is subtly challenging Lear’s conception of the universe as controlled by just gods. He is also and perhaps more importantly, challenging Lear’s relationship with the gods. It is Kent who most lucidly and repeatedly opposes the ideas put forth by Lear; his actions as well as his statements undermine Lear’s hypotheses about divine order. Lear does not find his foil in youth but in middle age; not in the opposite excess of his own—Edmund’s calculation, say—but in Kent’s comparative moderation. Likewise the viable alternative to his relationship to divine justice is not shown by Edmund with his ...
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...
King Lear is a play about a tragic hero, by the name of King Lear, whose flaws get the best of him. A tragic hero must possess three qualities. The first is they must have power, in other words, a leader. King Lear has the highest rank of any leader. He is a king. The next quality is they must have a tragic flaw, and King Lear has several of those. Finally, they must experience a downfall. Lear's realization of his mistakes is more than a downfall. It is a tragedy. Lear is a tragic hero because he has those three qualities. His flaws are his arrogance, his ignorance, and his misjudgments, each contributing to the other.
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.
For a character to be considered a tragic hero, they must start at the beginning great but has isn't completely perfect. King Lear starts the play off as a king just wanting to split his kingdom between all his girls “ To shake all cares and business from [his] age” (1.1,38). Suddenly his arrogance becomes clear and causes the audience to start to notice that this character may not be perfect. This is shown through never wanting to admit when he was incorrect throughout the play he keeps convincing himself that everything is okay, even when everything around him is in shambles. Convincing to himself that Regan and Goneril were perfect until he realizes that “ They told [him he] was every thing; 'tis a lie,[he is] not ague-proof” (4.6, 107).
The element of Christianity enters here, because King is a God-appointed position, not to be given up. Lear, however, decides to disregard this fact, instead focusing on the immediate gratification he will receive from his daughters, and boosting his self-esteem while making him feel loved. Lear essentially offers his land and power for love, "Which of you shall we say doth love us most? That we our largest bounty may extend where nature doth with merit challenge," forgoing his God-given position and rights.
Despite its undeniable greatness, throughout the last four centuries King Lear has left audiences, readers and critics alike emotionally exhausted and mentally unsatisfied by its conclusion. Shakespeare seems to have created a world too cruel and unmerciful to be true to life and too filled with horror and unrelieved suffering to be true to the art of tragedy. These divergent impressions arise from the fact that of all Shakespeare's works, King Lear expresses human existence in its most universal aspect and in its profoundest depths. A psychological analysis of the characters such as Bradley undertook cannot by itself resolve or place in proper perspective all the elements which contribute to these impressions because there is much here beyond the normal scope of psychology and the conscious or unconscious motivations in men.
King Lear is the protagonist within the play, he wears the label of a successful
King Lear as a Tragedy Caused by Arrogance, Rash Decisions and Poor Judgement of Character
Lear’s lack of self-knowledge in the beginning of the play is of devastating consequences. In the first scene we see the strongest statement reflecting a lack of self-knowledge. In order to divide up his kingdom, with the biggest piece in the middle of it going to Cordelia, with her husband to be. King Lear thinks of a sophisticated plan. He arranges a public ‘contest of love’ between his daughters, and whomever declares to loves him most, gets the most land. Thinking, his favourite daughter Cordelia will declare to love him the most. With this plan King Lear is trying to avoid his land from falling apart, and through this contest thinks he will get the public support, for the plan, he needs.
Although King Lear and Gloucester both possess elements of a tragic hero, Gloucester's punishment simply parallels, on a lower scale, Lear's deterioration into madness. Shakespeare chooses to increase the emotive impact of Lear's suffering by invoking the suffering of Gloucester.
The human condition can ultimately be defined as the positive and negative traits and characteristics that frame the complexity of human nature. This concept has been widely incorporated into many pieces of English literature throughout time, especially in William Shakespeare’s Jacobean tragedy, King Lear (hereafter Lear). More specifically, Shakespeare’s portrayal of the human condition in Lear depicts the suppression of one’s morality and/or rationality, triggering one’s downfall, as being due to unrestrained pride, gullibility and strong ambitions. Moreover, through studying the extract from the love scene/ Edmund’s soliloquy, I have gained a deepened understanding of Shakespeare’s representation of the human condition.
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'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.