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Kent is critical to King Lear
Power clash in king lear
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In Act II, scene 4 of Shakespeare’s King Lear the fool offers Kent and King Lear several pieces of advice, and does so with his usual mocking and humorous tone amidst the tension-filled scene. The fool plays a very unique role throughout the play, dishing out advice as much as he does insults, for he is always able to speak his mind as the sole unchecked voice in all of Lear’s kingdom. Moreover, in the case of scene 4, the two most significant things that come out of the fool’s mouth are his warning to Kent to abandon King Lear and his advice to the latter on the matter of raising children. A witness to King Lear’s battle with old age, the fool finds some time to sympathize with the plight of Kent. One of Lear’s most loyal subjects, who was formerly a very well-respected and trusted aide of the kingdom of Britain, the …show more content…
Meanwhile, Kent has unknowingly has become Lear’s middleman in a brewing civil war between the Duke of Cornwall and the Duke of Burgundy set to completely oust the old king of his remaining power. So on seeing the sight of Kent in stocks, the fool explains the nature of power as well as how to best follow it: “Let go thy hold when a great wheel runs down a hill lest it break thy neck with following; but the great one that goes upward, let him draw thee after.”(Shakespeare. pg. 101) Here the fool suggests to Kent that his loyalty to decrepit King Lear is futile, as the king’s mental health and decision-making is in steep decline, and that should he go any further with him it will come at his own detriment. Still, the fool’s lesson places a special emphasis on the merit of loyalty, for while he encourages Kent to entertain the notion of jumping ship, he also tells him to think twice before abandoning his friendship with Lear: “And let the wise man fly. The knave that turns fool that runs away; the
In addition to advice and teaching, the Fool adds commentary on Lear's decision. He voices what many people are thinking-Lear is the Fool. In fact, the Fool calls Lear less than a fool. He calls him nothing (1.4. ). His constant comments shed...
As the play opens one can almost immediately see that Lear begins to make mistakes that will eventually result in his downfall. (Neher) 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. (Williams) Leaving him, in the end, with nothing. Following this Lear begins to banish those around him that genuinely care for him as at this stage he cannot see beyond the mask that the evil wear. He banishes Kent, a loyal servant to Lear, and his youngest and previously most loved daughter Cordelia. (Nixon) This results in Lear surrounding himself with people who only wish to use him which leaves him very vulnerable attack. This is precisely what happens and it is through this that he discovers his wrongs and amends them.
Shakespeare, William. King Lear. As reprinted in Elements of Literature. Toronto: Oxford University Press. 1990.
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 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).
In conclusion, it is clear that blindness in terms of a mental weakness is the most prominent and destructive theme in Shakespeare’s, King Lear. This flaw is felt on a physical and a mental scale by several characters in the play such as King Lear, Albany, and Gloucester, leading each of them to their own demise in one way or another, proving that the outstanding theme of blindness is a dangerous and misleading one at
It would be impossible to label all the roles that Fool plays to his king. His only assigned brief - an entertainer of the court - is most likely the fool’s least important. Fool acted far more importantly than a mere source of entertainment, being Lear’s informative protector and friend. By far his most significant role was that of a moral instructor to his king. Fool teaches Lear that humans are unable to know themselves completely.
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.
Shakespeare’s tragedy, King Lear, portrays many important misconceptions which result in a long sequence of tragic events. The foundation of the story revolves around two characters, King Lear and Gloucester, and concentrates on their common flaw, the inability to read truth in other characters. For example, the king condemns his own daughter after he clearly misreads the truth behind her “dower,”(1.1.107) or honesty. Later, Gloucester passes judgment on his son Edgar based on a letter in which he “shall not need spectacles”(1.2.35) to read. While these two characters continue to misread people’s words, advisors around them repeatedly give hints to their misinterpretations, which pave the road for possible reconciliation. The realization of their mistakes, however, occurs after tragedy is inevitable.
King Lear is a dark play, with the near triumph of the malcontent Edmund, the intense sufferings of Lear and Gloucester, and the seeming lack of justice at the piece's conclusion. Shakespeare locates his tragedy in an extreme and entropic universe that makes his audience uncomfortable, and indeed is supposed to. On its own, the sheer violence of Act III.7 bears witness to Kent's nihilistic utterance at the plays close. However, Lear's universe, as I have just stated, is one of extremes, and not merely negative ones. As A.C. Bradley notes:
Tragedies are dominated by contrasts and conflicts between various entities such as, good and evil, legitimate and illegitimate, appearance and reality and so on. Another contrast is between wisdom and foolishness. If one associates foolishness with madmen and fools one will be surprised to find that in a tragedy such as King Lear this is not the case. Shakespeare portrays, the sane characters such as Kent and Cordelia as fools by virtue of loyalty, love and their willingness to speak the truth. On the otherhand, the Madman, Tom o’Bedlam and the fool are depicted as the true figures of wisdom. Moreover mirroring all this is King Lear’s transition from foolish behaviour through madness achieving wisdom.
The Fool begins by offering his jester's cap to Kent, saying that if Kent is to follow Lear, he had better have a coxcomb, insinuating the folly of following Lear. He goes on to say that "if I gave my daughters all my property," I'd have to keep a coxcomb. The Fool is quick to juxtapose his comment against his statement that he does not have a "monopoly" on foolishness. The Fool further points out the presence of a "wise man and a fool" without saying who is who, and he criticizes Lear for "going the fools among," implying that Lear is usurping the Fool's position as one prone to lapses of judgment and sheer stupidity. He tacitly insinuates through his actions and statements that he is among the company of fools, which provides the hint of foreshadowing the audience needs to know that Lear is losing his wits.
The reader discovers Kent's willingness to protect his King in the first scene. After Lear has had his daughter's display their love in a pubic competition Kent tries to persuade him that Cordelia "does not love him least" and that Lear should think about banishing her. Kent is trying to protect the King from his emotions and the decision that they have led him to. But Lear does not listen and instead banishes Kent from the Kingdom. His banishment is a result of another emotional outburst on the part of the King. If Lear were to look rationally at his actions and what his daughters have said he would realize his folly. Instead he is enraged by Kent and thinks that he is challenging his authority.
Shakespeare, William, Barbara A. Mowat, and Paul Werstine. The Tragedy of King Lear. New York: Washington Square, 1993. Print.