¶ … King Lears Downfall of Recognition
'I know what you are," says Cordelia to her sisters Goneril and Regan. Alas, her father does not perceive the brutality and mendacity in the hearts of his older children -- and Lear pays a heavy price for his failure to recognize their true characters. (I.i.270, p.1258) Because Lear also fails to see the goodness of his youngest daughter, or even to recognize the guise of his loyal Lord Kent when the man wears the clothes of an impoverished servant named Caius, King Lear must lose everything he owns, before he achieves any spiritual understanding.
King Lear begins the tragedy that bears his name the very pinnacle of his society, and ends the play as one of its lowest creatures, a demented, mad elderly man cradling the body of his dead daughter. He wishes to abdicate responsibility for rule to his daughters and their husbands, yet to be treated like a king while in their homes, without the responsibility of a king. This proves to be an impossible dream, given the young people's intolerance of his ways.
The mistake in Lear first makes is his foolish misapprehension of Regan and Goneril's showmanship for real feeling. "I am sure my love's/More ponderous than my tongue," says Cordelia, his only honest daughter. (I.i.78, p.1256) Because Cordelia is unwilling to speak lies about her love for her father being greater than her love for her husband, she is disinherited, although her stance of truth so impresses the King of France that she wins this man's hand anyway, even though "now your [Cordelia's] price has fallen," her father...
Oedipus Exemplifies or Refutes Aristotle's Definition of a Tragic Hero Aristotle's, the Greek philosopher definition of a tragic hero and tragedy has been influential since he set these definitions down in The Poetics. These definitions were viewed as important during the Renaissance, when scores of writers shaped their writings on the works of the ancient Rome and Greece. Aristotle asserted that tragedies follow the descent of a tragic hero or
It seems to her, says Flaubert, that her being, rising toward God, is going to be annihilated in love like burning incense that dissipates in vapor. But her response during this phenomenon remains curiously erotic... The waving of the green palm leaves relates this scene to the previous scenes of sexual seduction. (Duncan para, 5) At times, the green in the novel moves from springtime to the idea of the
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