Alongside a broad spectrum of entertainment, creativity, and exquisite craftsmanship, William Shakespeare’s works exhibit more than an ideal playwright’s masterpieces; they unearth political, social, and even religious agendas. While writing in seventeenth century England, Shakespeare undoubtedly had the church on his mind during many of his writing endeavors. King Lear permits no exceptions. Though it has often been fractured and split into many different realms in order to fit the lenses through which it has been criticized, (such as feminism, psychoanalysis, and cultural materialism) it is evident that King Lear places an exaggerated emphasis on the idea of separation and forgiveness, both of which are extremely stressed concepts within the Bible as well. In her article, “King Lear and the Prodigal Son,” Susan Snyder asserts that King Lear parallels the Biblical parable of The Prodigal son, found within the book of Luke. This parable is regarded as one of Jesus’ most famous parables, as it refers to salvation as something to be obtained by faith rather than good works. The Protestant Reformation marked the first time that this idea had been put to practice within churches, as the former corrupt Catholic Church had been known for selling indulgences to pay for sin. Needless to say, this parable was probably a heavily sought out item during this time in which Shakespeare was writing. Through Cordelia’s meek, mild, and at times gender-reversed portrayal and King Lear’s childish antics and love for immediate gratification, Snyder’s “King Lear and the Prodigal Son” perfectly illustrates the blatant similarities between the play and the parable.
Often, King Lear’s female characters, Goneril and Regan, have been critically analy...
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...An Excellent thing in woman"; Virgo and Viragos in King Lear." Modern Philology 96.2 (1998): 143-57. Web. 28 Mar 2011.
Hoover, Claudette. "Women, Centaurs, and Devils in King Lear." Women's Studies 16.3/4 (1989): 349-59. Web. 28 Mar 2011.
Mceachern, Claire. " Figures of Fidelity: Believing in King Lear." Modern Philology 98.2 (2000): 211-30. Web. 28 Mar 2011
Saunders, Graham. "Missing Mothers and Absent Fathers': Howard Barker's Seven Lears and Elaine Feinstein's Lear's Daughters." Modern Drama 42.3 (1999): 401-10. Web. 28 Mar
Shakespeare, William. "King Lear." The Norton Shakespeare. Ed. Stephen Greenblatt, Ed. Walter Cohen, Ed. Jean E. Howard and Ed. Katharine Eisaman Maus. 2. New York, London: Oxford University Press, 2008. 591-759. Print.2011.
Snyder, Susan. "King Lear and the Prodigal Son."Shakespeare Quarterly. 17.4 (1966): 361-69. Web. 24 Apr. 2012
In Shakespeare's play, Hamlet, the young Prince Hamlet must deal with murder, corruption and incest. The foils to Prince Hamlet, give the reader a basis to summarize his character within the play. Such foils include Laertes, son of Polonius, Claudius, current king of Denmark and stepfather of Hamlet, and Fortinbras, the prince of Norway.
It is often said that characters who are in constant conflict are different in nature. Although this is often true, it does not apply to William Shakespeare’s Hamlet, as characters who are very similar to each other are also involved in constant conflict. While some may argue that Hamlet and Laertes have distinct differences, it is evident that there are noticeable similarities between them. These similarities are evident when looking at their deep love for Ophelia, their desire to leave Denmark, and their domineering attitude towards females throughout the play.
Foils are minor characters, that through similarities and differences, set off or accent the main characters of a play. There is a strong connection between the foils in a play and one's final perception of the main characters. In William Shakespeare's Hamlet, Prince of Denmark, there is a continuous shifting of the main character's emotions. These emotions range anywhere from madness and rage to grief and sorrow. In Hamlet there is a foil that represents each emotion and behavior that is displayed by the main character- Hamlet.
Foils are used in plays so that the readers are better able to understand the major character (Hamlet). In a foil, the minor character is similar in many ways to the main character so that we will compare the two. However, it is through these similarities that we are able to see the more important differences between the two.
Harbage, Alfred. " King Lear: An Introduction." Shakespeare: The Tragedies: A Collection of Critical Essays.
King Lear is a complicated, apocalyptic play with parallel plots, moral ambiguity, and a messy ending. The play's events were politically charged and historically informed when they were performed in seventeenth century England, as they continue to be to today. Whatever his intentions, Shakespeare has given us several universal truths to consider. One I like to consider is how beneath all the sinister and bold machinations of man lies the gentle earth, from which we, and all life, spring. Some critics note that Shakespeare was skeptical about God and the role of religion in one's life. I believe King Lear is the product of a writer with a solid cosmology, but one centered in earth and humanity. I hesitate to label Shakespeare a pagan, or anything other than brilliant. Yet there is evidence enough in the text for me to argue an earth-centric thesis. A close reading reveals those who employ common wording or down-to-earth speech as embodiments of goodness, whereas characters that insist on the perfectly controlled, artificial utterances of the feudal court are corrupt at best, if not evil. The gods above are shown to be fickle and uncaring, if not bloodthirsty. Shakespeare also weaves in certain utopian visions into the fabric of King Lear, earth-based ideals, not only pre-Christian like the play's setting, but pre-historic; thus supporting the argument for an earthen cosmology and humanistic political consciousness, freely exhibited and often applied in the work.
1. In his play, Hamlet, William Shakespeare uses various foils to make the play more complex. These foils involve numerous characters that help to develop different relationships and conflicts. Without these foils, the relationships and conflicts would not happen, and the play could not develop. They help us to understand Hamlet[']s actions and bring diversity to the play. Polonius and Laertes are the main foils for Hamlet. Polonius shows how irrational Hamlet thinks, and Laertes shows that Hamlet must pay for his actions, even if he is royalty. This plot and conflict develop from the similarities and differences between Hamlet and the foils.
Elton, William R. King Lear and the Gods. San Marino, California: The Huntington Library, 1966.
caught in a pattern they have no power to change. Lear sets the play in
1. Plays have foils to help the audience understand important characters in the play. Foils are minor characters that have similarities and differences with a more important character in the play. Sometimes the minor character is just there for the character to talk to; this is the basis for being a foil. In the play "Hamlet," [Titles] by William Shakespeare, the character Ophelia is a foil to Hamlet.
Foil's [No ' H-50] are minor character's [No '] in a story who by their similarities and differences with more important characters, helps [SV - 1] the audience to better understand the main character in that story. Also another purpose of a foil is to provide the more meaningful character with simply someone to talk to. In "Hamlet" [Titles] there are many foils used but I am going to only speak of those who lend to the fact that Hamlet and Claudius represent good and evil. [3 sic] One of Hamlet's foil's is [No '] The Ghost of his father, the former King of Denmark. One of their similarities is their relation and knowledge of one another by being father and son. When Hamlet and The Ghost meet (Act 1, Scene 2, Line 10) the reader learns that the ghost is in fact Hamlet[']s father when he says "I am thy father's spirit." Another similarity is their intelligence. The play gives many examples of Hamlet's quick witted yet smart way of speaking. And when we meet the ghost he speaks with the same intellect, only without the sarcasm used frequently by Hamlet. The main similarity is their longing for revenge. The ghost beg's [No '] Hamlet to revenge his death[,] and at the time Hamlet seems to honorably agree. By this honor the audience instantly stereotypes Hamlet as being heroic and good.
Shakespeare, William. The Norton Shakespear. The Tragedy of King Lear. Second edition. W. W. Norton & Company. New York. London 2008.
In the play Hamlet by William Shakespeare, the theme of revenge is very palpable as the reader examines the characters of Hamlet himself, as well as Laertes, son of Polonius, and Fortinbras, prince of Norway and son of the late King Fortinbras. Each of these young characters felt the need to avenge the deaths of their fathers who they felt were untimely killed at the bloody hands of their murderers. However, the way each chose to go about this varies greatly and gives insight into their characters and how they progress throughout the play.
“Children are a product of their environment”, is something I constantly hear when a either a young person is acting out or a young person doesn’t look “socially acceptable”. Delinquency and children’s behavior was something I have grown to become interested in during our class; thus leading me to analyze different theories on youth and the factors that prompted the onset of delinquent and how they continue to sustain their negative behavior. I personally do not completely agree with any one theory that applies to youth and child delinquency, yet there are points within each theory that I can agree with. In the following pages I will describe theories such as Choice Theory, Biosocial Theory, and Differential Association Theory.
Shakespeare, William, Barbara A. Mowat, and Paul Werstine. The Tragedy of King Lear. New York: Washington Square, 1993. Print.