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the importance of the fool in the play king lear
the influence of the era on shakespeare works
the importance of the fool in the play king lear
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Clowns to the Left of Me, Jokers to the Right:
Lear’s Fool and Cymbeline’s Cloten and Their Social Significance
Clowns and Jesters abound throughout the Shakespearean canon, and the Bard’s later plays are no exception. In this paper I plan to examine the later Shakespearean fool, particularly King Lear’s Fool and Cymbeline’s Cloten and how they represent various political and social ideas. First, I will examine the historical significance of both Fool and Cloten’s station, their historic relevance, and similarities to other socio-political archetypes. Next, I will look at how Lear’s Fool and Cloten reflect the idea of progress by revolutionary derailment of main characters inspiring monarchical overturn and progress. Third, I will examine the symbolism in their deaths and how it reflects the historic trend of the maligned lower class, post overthrow.
Historically, the transition from the Elizabethan reign to James’ was a time of subtle social-realignment. The idea of the monarchy was beginning to show signs of weakness following the James’ ascension and the intellectual, producing artists like Shakespeare, were among the first to placate and simultaneously subvert it. Those of Shakespeare's own socio-economic class were fostering a class-limiting, Puritan structure. It is evident Shakespeare wholly rejected this new social ethic. He began to suggest in his writing a morality based in the issue brought to light by the humanist “bourgeoisie” of the Renaissance that was largely extracted from all but the landed feudal class. This “Renaissance Bourgeoisie” historically did not carry out its promises at that time nor later. Immediately after its first victories, its class limitations and contradictions forced it to chan...
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...’s Men depended on the patronage of the court. This precarious position afforded them many privileges in exchange for a limited artistic freedom that consciously praised and subversively undermined the imperfections of the royal politic. Both characters lend themselves to what, in retrospect, resembles a semi-Marxist, class defined, framework. Both Lear’s Fool and Cloten act as intermediaries of progress in the thinking of heads of state affecting redirection of the ruling class. King Lear’s Fool and Cymbeline’s Cloten, both reflect the duty of Shakespeare’s writing to the crown and the ability of art and entertainment, to critique those in power and move them towards change.
Works Cited
Shakespeare, William, Stephen Greenblatt, Walter Cohen, Jean E. Howard, and Katharine Eisaman Maus. The Norton Shakespeare. New York: W.W. Norton, 2008. Print.
Clark, W.G., and W. Aldis Wirhgt, eds. The Complete Works of William Shakespeare. Vol 2. USA: Nd. 2 vols.
Foakes, R.A.. “The Play’s Courtly Setting.” Readings on Hamlet. Ed. Don Nardo. San Diego: Greenhaven Press, 1999. Rpt. of “Hamlet and the Court of Elsinore.” Shakespeare Survey: An Annual Survey of Shakespearean Study and Production. No. 9. Ed. Allardyce Nicoll. Cambridge, Eng.: Cambridge University Press, 1956.
Levin, Harry. General Introduction. The Riverside Shakespeare. Ed. G. Blakemore Evans. Boston: Houghton Mifflin Co., 1974.
Shakespeare's dynamic use of irony in King Lear aids the microcosmic illustration of not only 16th century Britain, but of all times and places. The theme that best develops this illustration is the discussion of fools and their foolishness. This discussion allows
Levin, Harry. General Introduction. The Riverside Shakespeare. Ed. G. Blakemore Evans. Boston: Houghton Mifflin Co., 1974.
The article “The Year of Lear: Shakespeare in 1606, by James Shapiro” by Jane Smiley seeks to explain how James Shapiro connected the events of the year 1606 with Shakespeare’s master pieces. Smiley writes a book review for “The New York Times” which analyzes not only the book, but Shakespeare himself, the events, the author and how they all connect.
In Shakespeare's play King Lear, the main character, King Lear, is presented as a respected and powerful king. As the story progresses the king loses his power because of his own stupidity and blindness. The tragedy of this play is shown chiefly through the actions of Lear’s daughters, which lead to Lear’s bout with insanity, and through the words of the Fool.
Shakespeare, William. The Norton Shakespeare. Edited Stephen Greenblatt et al. New York: W. W. Norton & Company, 1997.
Greenblatt, Stephen. Introduction. The Norton Shakespeare. Walter Cohen, Jean E. Howard, and Katharine Eisaman Maus et al. New York: Norton, 1997.
Dutton, R., & Howard, J.E. (2003). A Companion to Shakespeare’s Works.(p. 9) Maiden, MA: Blackwell Pub.
James, D.G. (Excerpt from a series of lectures delivered in 1965 at University College, London.) The Shakespeare Criticism Volume 8. Gale Research Inc., Detroit. 1989: 429-434.
Cohen, Walter, J.E. Howard, K. Eisaman Maus. The Norton Shakespeare. Vol. 2 Stephen Greenblatt, General Editor. New York, London. 2008. ISBN 978-0-393-92991-1
Although William Shakespeare is considered to be one of the most revered and well-renowned authors of all time, controversy surrounds the belief that he actually produced his own literary works. Some rumors even go so far as to question the reality of such a one, William Shakespeare, brought on by paralleling the quality of his pieces with his personal background and education. With such farfetched allegations, it persuaded others to peek into the person we all are taught to learn as “Shakespeare”, but who is actually the person behind these genius works of literary promise and enlightenment? To some, Shakespeare is as much accredited to his works as frequently as you see his name placed. To others, Shakespeare is a complex enigma into which we the people are supposed to unravel; the true author behind a falsely-given pseudonym. The debate pertaining to the true authorship of William Shakespeare’s works are still questioned in today’s society.
Clark, W. G. and Wright, W. Aldis , ed. The Complete Works of William Shakespeare. Vol. 1. New York: Nelson-Doubleday
Shakespeare, William. The Norton Shakespeare. Edited Stephen Greenblatt et al. New York: W. W. Norton & Company, 1997.