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Irony of the fools wisdom in king lear
Role of the fool in Shakespeare
Irony of the fools wisdom in king lear
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Alison Dew
Explore the role of the fool in King Lear.
In Elizabethan times, the role of a fool, or court jester, was to professionally entertain others, specifically the king. In essence, fools were hired to make mistakes. Fools may have been mentally retarded youths kept for the court’s amusement, or more often they were singing, dancing stand up comedians. In William Shakespeare’s King Lear the fool plays many important roles. When Cordelia, Lear’s only well-intentioned daughter, is banished from the kingdom Fool immediately assumes her role as Lear’s protector. The fool is the king’s advocate, honest and loyal and through his use of irony sarcasm and humour he is able to point out Lear’s faults. Functioning much as a chorus would in a Greek tragedy, the fool comments on events in the play, the king’s actions and acts as Lear’s conscience. As he is the only character who is able to confront Lear directly without risk of punishment, he is able to moderate the king’s behaviour.
King Lear is not the only one of Shakespeare’s plays to contain a comical scapegoat; in the Merchant of Venice, Gobbo is used to bring comedy and irony to an otherwise serious play, although his supposedly comical exploitation of his father’s blindness in the first act may also prepare us for the theme of cruelty which is evident in the play. We may further suggest that the fool’s surreal and absurd comments in King Lear ("thy bor’st thine ass on thine back o’er the dirt") imply the disorder within the hierarchy as a whole. However, as Touchstone in As You Like It is used as a comedic device by Shakespeare, so the fool is sometimes used for comic effect, employing the Elizabethan/Jacobean euphemistic "thing" as a synonym for penis. The fool in King Lear is an example of Shakespeare using the fool as a voice to bridge the gap between the audience and the stage. The "all-licensed fool" makes many of his quips at the expense of the king. Due to his role as Lear’s amusing sidekick, he was able to get away with this unlike any other, as is shown in the confrontation between Lear and Kent in act one scene one. Lear is the absolute ruler of the country - what he says is as good as God’s word – which reflects the Divine Right of Kings, a Medieval doctrine which was still extant in the early seventeenth century although it was beginning to come under sig...
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...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:
Fool: And I’ll go to bed at noon.
It is never clear whether the fool actually dies, but the lines spoken of Cordelia’s death:
Lear: And my poor fool is hang’d: no, no, no life?
Once again parallel Cordelia with the fool.
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.
Bibliography
Shakespeare, William, King Lear (Harmondsworth: Penguin Books Ltd, 1972)
Willeford, William, The Fool and His Scepter: A Study in Clowns and Jesters and Their Audience (Evanston: Northwestern University Press, 1969)
There is a tremendous difference between a fool and a jester. Fools are regarded as light-hearted, dim-witted, and absent-minded people whose outrageous stupidity amused the rest of the population. These jovial folk represented the lowest in society: too carefree to get ahead in society and too stupid to care. Many people believed that Jan Steen, a prominent and well-educated artist of the Dutch Golden Age, was a fool. It is not a far-fetched assumption to make since he donned the appearance of a fool in his own paintings. However Steen was no fool. Much like the history of jesters, Jan Steen’s unsavory appearances in his own work is often misunderstood and taken at face value. To look into Steen’s own depictions of his life in his paintings one might completely agree that he is a foolish drunkard who happened to be blessed with the ability to paint. It is interesting, then, to realize that Steen is more jester than fool, especially in his self portraits. In medieval times the only person who could get away with insulting the king and royal family was the court jester. Jesters would use their quick wit, silver tongues, and superior intellect to insult or comment on the presiding royalty and would often be received with thunderous laughter and applause. Steen, much like the jester, used a foolish appearance to give social commentary on the world around him. One of the best examples of this is in Steen’s “The Continence of Scipio” (see Figure 1). A goofy cast of characters replace the traditionally serious and dignified roles of the figures in the classic story but none so ridiculous as the narcissistic husband, Aluccius (who looks suspiciously like Stee...
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Lawrence believes that the storm is a symbol of King Lear’s own turmoil that he is unable to realize. Furthermore, when King Lear wishes to die in the storm, he hopes to make his death more significant than it really is. Lawrence also argues like many other critics that King Lear’s suffering is largely voluntary, which he believes King Lear does to give his life more meaning. Lawrence also describes the Fool similarly to other critics as King Lear’s guide. For instance, despite all the suffering King Lear faces in the storm scene, the Fool reminds him that he can ask for Cordelia’s blessing to feel better (Lawrence 40). However, King Lear fails to recognize the Fool’s words of wisdom being caught up in his own self-righteousness. This can be seen in King Lear’s speech demanding for an apocalypse when he accuses others of crimes to show his superiority over others (Lawrence 41). Only once King Lear calms down later in the play does he begin to seek a meaningful death. However, it may have been too late for King Lear as he remains unable to escape from Being due to how he acted before (Lawrence
One of the most idealistic and influential classical concepts was the Elizabethan Chain of Being. The idea behind the Chain was that everything in existence had its place in the hierarchy of the universe. An object's place depended on its spirit-to-matter ratio: the more spirit and less matter something had, the higher up the chain it was. At the bottom were various inanimate objects like stones, metals, and the four elements, i.e. earth, water, air, and fire. Higher up were members of the vegetative class, like flowers and trees. Next came animals, then humans, and then angels. At the top sat God. Within each section, there were subsections, each with its own hierarchy. For example, among humans, the king was above the noble, the noble above the soldier, and the soldier above the servant, and he above beggars and fools. The fool in Elizabethan literature was used to provide a topic or theme for mediation, or he could be used purely used for comic relief. In William Shakespeare's comedy, Twelfth Night, Feste the Fool was not the only actor who played a fool. In fact, Feste was one of the smartest and wittiest characters in the comedy, one who seemed to be able to withdraw from the scene and provide insightful commentary, much like the Greek chorus. When Olivia's called Feste was an allowed fool, meaning he was a critic to speak the truth of the people around him, it put him in a unique position. In some cases, he acted as a teacher through puns and humor. He also revealed that some other characters that were higher up in the chain than he was were not as smart as their place suggested. In Twelfth Night, Feste the Fool ironically acts as Shakespeare’s megaphone, presenting the playwright’s message that the Chain of Being is n...
However, the typical Shakespearian’ fool is quick witted, a master of comedy, and able cause laughter without the accumulation of grudges, and effectively evading the build-up of ‘debt’. Despite being briefly present in “Hamlet”, Sterne’s jesterous Yorick succeeds in being an adequate conduct or vessel through the story itself. He encapsulates and exhumes the quintessential qualities of a typical jester, in that Yorick is able to slip the conversation onto a tangent whenever the topic of his ‘debts’ is brought in to a conversation; he manages to evade these conversations as if it were a “hop, skip and jump” to him (27). However, the reality of his economic social status inevitably awaits Yorick “until, he is trapped in a social chimney corner.” When in due time Yorick will be trapped and utterly incapable to slip the topic in to a tangendental digression. Nevertheless Yorick shows his capability or fulfilment in the role of a jester by ignoring all modes of reality through his comedy, however it results in his violent death. Although demonstrating that the fool can submerge themselves in laughter, rather chapter 12 proves that reality will down the fool in
play because of the cruelties inflicted upon him. Cordelia the only daughter that truly loves him is
King Lear is a Shakespearian tragedy revolving largely around one central theme, personal transformation. Shakespeare shows in King Lear that the main characters of the play experience a transformative phase, where they are greatly changed through their suffering. Through the course of the play Lear is the most transformed of all the characters. He goes through seven major stages of transformation on his way to becoming an omniscient character: resentment, regret, recognition, acceptance and admittance, guilt, redemption, and optimism. Shakespeare identifies King Lear as a contemptuous human being who is purified through his suffering into some sort of god.
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).
The clown contributes towards the humourous entertainment of this play through his numerous puns and jokes. He is a source of laughter, not because we are humoured by his "foolery"; for he proves to be no fool at all; but rather because he amuses us with his brilliant wit. Having mastered the art of jesting, Feste is sensitive of his profession, always aware of the circumstances he is in and the appropriateness of this folly.
The Role of the Fool in Twelfth Night by William Shakespeare In English Literature, a fool is a person professionally counterfeits. folly for the entertainment of others. They are always regarded as comic figures, which provide mediation under tensional circumstances. As Twelfth Night is an atypical romantic comedy, the jester is not the.
Therefore, if the sane characters commit foolish actions, obeying the same paradox, the implications are that Tom o’Bedlam and the fool have to be wise. The role of the fool in the play is to remind Lear of his foolish behaviour in giving everything to his two daughters and in banishing Cordelia. The audience can get much insight in the words of the fool. This was not new to the Elizabethan audience as it was a theatrical convention that the fool would speak the truth. Likewise is poor Tom o’Bedlam (Edgar in disguise). In him Lear finds reason and calls him philosopher.
The only one that can hold a mirror, telling the king the truth about his behaviour is the Fool. He is allowed to say anything of criticism without fear of retributions. He is actually Lear’s external conscience, speaking the truth about his three daughters. The Fool has greater wisdom about the world and s...
Combining the antics of a circus with the pomp of a royal court is a difficult task indeed. William Shakespeare's genius came from how closely he intertwined the two seemingly mutually exclusive realms to appeal to all socioeconomic groups in his audience. In King Lear, Edgar's appearance as Tom of Bedlam, Lear's insanity, and Lear's Fool provide the comic relief which slices the dramatic tension. Among these, Lear's Fool provides the closest intercourse of the two realms of royalty and tomfoolery while still maintaining their separation.
King Lear, the protagonist of the play, is a truly tragic figure. He is driven by greed and arrogance and is known for his stubbornness and imperious temper, he often acts upon emotions and whims. 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 of governing for the good of his subjects.
ii. 48-50). Death, violence, and loss are woven all throughout the language, and in doing so, the physicality of such matters dominate the metaphorical world of the play. Perhaps the most tragic event in the play, the death of Cordelia allows the fullest expression of the tragedy’s address to personal morality. Like the other two daughters, Cordelia is an extension of Lear. Thus her death is an aspect of his own, allowing Lear to experience death and speak to the wrongness of it all. “No, no, no life! Why should a dog, a horse, a rat, have life, and thou no breath at all? (Shakespeare V. ii. 306-308).” Both unnatural and inevitable, the unjust death of Cordelia embodies our sense that death is wrong and outrageous. Most of us are not kings, but it may be true that in each of us is a King Lear who is unwilling to give our kingdom, our sense of privilege, our rights we think we have earned. We expect to cling on to our existence, and pretend death does not exist. As we continue to explore the psychology behind death, we find, as we so often do, that Shakespeare has been there before