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Literary analysis everyday use
Two kinds of literary analysis questions
Two kinds of literary analysis questions
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Quite literally, the term “nothing” tends to not hold any value to us. But Shakespeare’s King Lear, offers a contrasting interpretation of the concept of “nothingness.” Shakespeare uses the imagery of emptiness to represent the inherent value of absolutely nothing, as characters are reduced to destitution and great loss to realize the true meaning of humanity. The use of the term “nothing” in the play, often refers to or prefaces a character’s complete loss of everything in their life, diminishing them to absolutely nothing. Ironically, this occurs when characters are so insecure about losing something, like wealth or power, that they reject the value of nothingness and, in doing so, end up losing everything. In Lear’s case, he loses not only …show more content…
“Poor turlygod! Poor Tom! That’s something yet! Edgar I nothing am” (2.3.20-22). Similar to Lear, Edgar realizes that he can no longer hold the power or influence that he once had. But rather than going mad and losing even more than he already has, Edgar decides to channel his loss into something greater. He risks his life and his identity to look out for his father, which effectively gives meaning to the nothingness. Edgar’s embrace of his reduction to destitution shows how such a state of nothingness, ironically tends to make people more whole and …show more content…
(4.1.1-8)
Edgar is saying that when you have nothing to lose, you have nothing to fear. Edgar fully embraces the concept of nothingness. To him, the value of it is that it takes the risk away from anything that he does. Since he has absolutely nothing, then there is nothing for him to lose by taking a risk. At this point, things can only get better for Edgar. He proves that it is truly possible to feel like you have enough when you literally have nothing.
Newfound humanity as a result of nothingness is portrayed in Lear when he first realizes that he hasn’t done enough to help the poor and homeless. “How shall your houseless heads and unfed sides, your looped and windowed raggedness, defend you from seasons such as these? O, I have ta'en too little care of this” (3.4.34-38). Now that Lear is in a position of homelessness, he finally understands it enough to want to do something about it. Tragically, however, Lear is no longer in a position that allows him any influence to actually help the homeless and the poor. The tragic irony is that the only way to understand nothingness is to experience it firsthand, and at that point it’s too late to do anything and the cycle just continues. Nonetheless, Lear becomes a better person as a result of losing everything he has. His nothingness holds meaning because it gives him
Much Ado About Nothing, though a critically acclaimed play, seems to be truly a fuss of trivial details and sexist thinking. The title fits the play itself, in the sense that it is a case of a great amount of nothing, which perhaps can be assumed to be a mistake on William Shakespeare's part.
...ut Nothing is an extremely fast paced and witty play, Shakespeare very much has love as his central theme. There are two very different, yet equally compelling relationships that are explored in depth. They run through the play concurrently, allowing the reader to compare and contrast the different facets and complexities between the two. The playwright’s rich understanding of relationships, and particularly his understanding of the fact that love is not always as formulaic as many a writer would have us believe, makes for a fascinating read. In fact, by directly comparing a realistic couple, full of real world self doubt and a fear of rejection with a very stereotypical love-at-first-sight type of relationship, Shakespeare is possibly making the point that love and relationships have more depth than is often given credit.
William Shakespeare's Much Ado About Nothing is a play involving by deception, disloyalty, trickery, eavesdropping, and hearsay. The play contains numerous examples of schemes that are used to manipulate the thoughts of other characters; it is the major theme that resonates throughout the play. Ironically, it is one of these themes that bring serenity to the chaos that encompasses most of the play.
Shakespeare, William; Much Ado About Nothing; Washington Square Press; New York, NY; New Folger Edition May 1995
With its entangled double plots and eloquent use of words, Much Ado About Nothing is a story that has the ability to entertain the masses both young and old. Shakespeare’s use of figurative language along with situation creates such vivid imagery for which carries the drama from beginning to end. For example, when we look at Act 1 Scene 1 of the play ...
Shakespeare, William; Much Ado About Nothing; Washington Square Press; New York, NY; New Folger Edition May 1995
In The Tragedy of King Lear, particularly in the first half of the play, Lear continually swears to the gods. He invokes them for mercies and begs them for destruction; he binds both his oaths and his curses with their names. The older characters—Lear and Gloucester—tend view their world as strictly within the moral framework of the pagan religion. As Lear expresses it, the central core of his religion lies in the idea of earthly justice. In II.4.14-15, Lear expresses his disbelief that Regan and Albany would have put the disguised Kent, his messenger, in stocks. He at first attempts to deny the rather obvious fact in front of him, objecting “No” twice before swearing it. By the time Lear invokes the king of the pagan gods, his refusal to believe has become willful and almost absurd. Kent replies, not without sarcasm, by affixing the name of the queen of the gods to a contradictory statement. The formula is turned into nonsense by its repetition. In contradicting Lear’s oath as well as the assertion with which it is coupled, Kent is subtly challenging Lear’s conception of the universe as controlled by just gods. He is also and perhaps more importantly, challenging Lear’s relationship with the gods. It is Kent who most lucidly and repeatedly opposes the ideas put forth by Lear; his actions as well as his statements undermine Lear’s hypotheses about divine order. Lear does not find his foil in youth but in middle age; not in the opposite excess of his own—Edmund’s calculation, say—but in Kent’s comparative moderation. Likewise the viable alternative to his relationship to divine justice is not shown by Edmund with his ...
Lear's dialogue with Cordelia on "nothing" introduces yet another theme in the play's imagery, echoing, among other scenes, some of his later conversations with the Fool (I.iv.130 "Can you make no use of nothing, nuncle?") and others. Indeed, King Lear is, in many ways, about "nothing." Regan and Goneril seem to offer much in the beginning, but after whittling down the number of Lear's knights, they leave him with nothing, and in the end their "natural" affection comes to nothing as well. Lear is progressively brought to nothing, stripped of everything -- kingdom, knights, dignity, sanity, clothes, his last loving daughter, and finally life itself.
The title of Shakespeare’s Much Ado About Nothing has sparked scholarly debates about its meaning for centuries. Some say it is a play on the term “noting”, revolving around the theme of all sorts of deceptions by all sorts of appearances (Rossiter 163). Others claim it has more to do with everyone making a fuss about things that turn out to be false, therefore, nothing (Vaughn 102). Regardless of these speculations, there is something rather profound going on in the play that is worth making a big deal about: four characters in the play learn about love, and eventually, how to love.
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...
King Lear is a play about a tragic hero, by the name of King Lear, whose flaws get the best of him. A tragic hero must possess three qualities. The first is they must have power, in other words, a leader. King Lear has the highest rank of any leader. He is a king. The next quality is they must have a tragic flaw, and King Lear has several of those. Finally, they must experience a downfall. Lear's realization of his mistakes is more than a downfall. It is a tragedy. Lear is a tragic hero because he has those three qualities. His flaws are his arrogance, his ignorance, and his misjudgments, each contributing to the other.
Shakespeare's King Lear is a play which shows the consequences of one man's decisions. The audience follows the main character, Lear, as he makes decisions that disrupt order in his Kingdom. When Lear surrenders all his power and land to his daughters as a reward for their demonstration of love towards him, the breakdown on order in evident. Lear's first mistake is to divide his Kingdom into three parts. A Kingdom is run best under one ruler as only one decision is made without contradiction. Another indication that order is disrupted is the separation of Lear's family. Lear's inability to control his anger causes him to banish his youngest daughter, Cordelia, and loyal servant, Kent. This foolish act causes Lear to become vulnerable to his other two daughters as they conspire against him. Lastly, the transfer of power from Lear to his eldest and middle daughter, Goneril and Regan, reveals disorder as a result of the division of the Kingdom. A Kingdom without order is a Kingdom in chaos. When order is disrupted in King Lear, the audience witnesses chaotic events that Lear endures, eventually learning who truly loves him.
What comes first, family or power? The general population would lean heavily towards family because love for one’s family proves to be one of the strongest bonds between humans. This holds true in most entertainment mediums as well. However, in Shakespeare’s King Lear, Lear’s daughters prize their father’s kingdom and power over their relationship to him. This selfish attitude defines the conflict through the entirety of the play. Shakespeare expresses two major themes in King Lear; love and wisdom. King Lear’s struggle to recognize authentic love, love himself, and acknowledge wisdom imparted on him, due to his weak emotional state, results in needless conflicts and the deaths of many.
"As flies to wanton boys are we to the gods; / they kill us for their
In acceptance of helplessness, the characters ironically experience growth, joy, and hope. If the world of Lear is chaotic, painful, and alien, it also stimulates growth. The king with no kingdom discovers the superficial authority that was his kingship, and understood “They flatter’d me like a dog...they told me I was everything. ‘Tis a lie” (Shakespeare IV. vi. 96-105). When Lear had finally accepted his inability to change a situation, he looks upon his life with a new-found wisdom. Lear’s progress to acceptance is also marked by the shift of dependence from evil children to good, from Regan and Goneril to Cordelia. The schematic character groupings of good and evil invites us to see the children on a metaphorically level of shifting stages. When Lear is reunited with Cordelia, though he is faced with impending death, he blissfully proclaims “Come, let’s away to prison...so we’ll live / And pray, and sing, and tell old tales, and laugh / At gilded butterflies” (Shakespeare V. iii. 8-19). Lear is, for the first time in the play, truly happy. The King beautifully expresses an idea of acceptance against uncontrollable forces. The prison that Lear speaks of is not a literal one, but rather his response to the approaching end of his life, as it should be for all of us, to pray, to sing, to tell tales, to laugh, to be above the battle of life. Similarity, Gloucester,