Jane Adelman. New Jersev; Prentice-Hall, 1978. Colie, C.L. "The Fool in King Lear." 20th Century Interpretations of King Lear.
This nihilistic approach, however, not only disregards many of the play’s moments of philosophical insight, but it also completely misinterprets Shakespeare’s intent. That is not to say that Lear is without fault at the end of the play; as Shakespeare surely understood, Lear is still human, and as such, he is subject to human frailty. What is most important about Lear, however, is not that he dies a flawed man but that he dies an improved man. Therefore, although King Lear might first appear “bleak,” Shakespeare suggests that Lear’s life, and human life in general, is worth all of its misery because it is often through suffering that people gain knowledge about the true nature of their individual selves and about the nature of all humanity (Roche 164). From the very beginning of the play, Shakespeare suggests that King Lear has much to learn.
Edmund, for instance, may be seen as a fool in the sense that he is morally weak. His foolishness lies in the fact that he has no sense of right or justice, which rewards him with an untimely, ironic death. He discusses this as his father, Gloucester, leaves to ponder the "plotting" of his son Edgar. Edmund soliloquizes, "This is the excellent foppery of the world, that when we are sick in fortune... ...we make guilty of our disasters the sun, the moon, and stars, as if we were villains on necessity; fools by heavenly compulsion." (I. ii.
Misperception and Deception in Twelfth Night Twelfth Night is likely one of Shakespeare’s most entertaining and complete comedy. This romance explores a generous wealth of themes and issues. The most recurrent theme is the relationship between misperception and deception. As a result of their environment and immediate circumstances, men are forced into misperceptions. Paradoxically, they are completely trapped by these illusions.
Deception, Trickery, and Concealment in Much Ado about Nothing and Macbeth William Shakespeare's classic romantic comedy, Much Ado about Nothing and tragic history, Macbeth revolve around the theme of deception, trickery, and concealment. There are portrayals within these two plays that depict deception and trickery as merely harmless and even beneficial. In some cases the characters are thoroughly masked in their lies; for ill or well, they are hiding who they truly are. In other cases, the person they attempt to hide is merely obscured, the masks being only a slight deterrent from their real personalities. Sometimes they are harmless diversions; sometimes they are even beneficial tools to be utilized for one's friends.
Donner writes that the cathartic experience the end of the play affords us is the belief that justice had not been done; how could it, and we can not forget the tremendous potential man has for evil that no one but God could forgive. Harris argues that the promised ... ... middle of paper ... ...resa and Adolf Hitler. Love, it would seem, does turn upon itself, and by doing so destroys what it is supposed to preserve. Bibliography: Bradley, A.C. Shakespearean Tragedy. New York: Fawcett Books, n.d. Bloom, Harold.
Rev. of The Twelfth Night of Shakespeare’s Audience, by John W. Draper. Review of English Studies 3.10 (1952): 170-71. Print. Logan, Jenkins.