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King Lear | H1 Notes
King Lear | H1 Notes Edmund • Edmund, Gloucester’s illegitimate son, is undoubtedly one of the most Machiavellian and cunning characters in the play. • Bitter as a result of his lack of social status due to being born the “bastard” son. • Questions prejudice society has against children born out of wedlock, “Why brand they us/ With base?” • Feel sorry for him as it is clear that he has not received the same love from his father as his legitimate brother, “I have so often blushed to acknowledge him”. • Driven by ambition to improve his own social status and wealth, whatever the cost. • Clearly an immoral character who has no regard for his family. He hatches a plan to have his brother written out of his father’s will, a shocking act which makes his lack of care for Edgar evident, “Edmund the base/ Shall top the legitimate”. • His malicious nature is evident from the beginning of the play in Act I Scene II, where he tricks his father into believing that his legitimate son, Edgar, is plotting to kill him, “The contents, as in/ part I understand them, are to blame”. • Although Edmund’s cruelty is striking, I feel compelled to admire his creativeness in coming up with a plan to so effectively fool his father. • Edmund is also seen as cunning and two-faced as he ‘advises’ Edgar to go into hiding as Gloucester is looking to kill him, “Brother, I advise you to the best; go armed”. • Although incredibly immoral, it is quite admirable that Edmund so successfully turns his brother and father against each other. -
Cordelia''s Portrait in the Context of King Lear''s
Paula M. Rodríguez Gómez Cordelias Portrait in the Context of King Lears... 181 CORDELIAS PORTRAIT IN THE CONTEXT OF KING LEARS INDIVIDUATION* Paula M. Rodríguez Gómez** Abstract: This analysis attempts to show the relations between the individual psyche and the contents of the collective unconscious. Following Von Franzs analytical technique, the tragic action in King Lear will be read as an individuation process that will rescue archetypal contents and solve existential paradoxes that cause an imbalance between the ego and the self, leading to self-destruction. Once communication is eased and balance is restored, the transformation-seeking process that engaged the design of the play itself becomes resolved, and events can be led to a conventional tragic resolution. Jungian analysis will therefore provide a critical framework to unveil the subconscious contents that tear the character of the king between annihilation and survival, the anima complex that affects the king, responding thus for the action of the play and its centuries-old success. Keywords: collective unconscious, myth, individuation, archetype, tragedy, anima. Resumen: Este análisis pretende sacar a la luz las relaciones entre la psyche individual y los contenidos del inconsciente colectivo. Siguiendo la técnica analítica de Von Franz, la acción trágica de King Lear será entendida a través del proceso de individuación que revierte sobre los contenidos arquetípicos y resuelve las paradojas existenciales que cau- san el desequilibrio entre ego y self. Una vez que la comunicación es facilitada y el equilibrio psíquico recuperado, el proceso transformativo que afecta la génesis de la trama se resuelve y el argumento alcanza una resolución convencional. -
Sources of Lear
Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the Department of English © Lynne Bradley, 2008 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photo-copying or other means, without the permission of the author. ii Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) iii Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) Abstract The temptation to meddle with Shakespeare has proven irresistible to playwrights since the Restoration and has inspired some of the most reviled and most respected works of theatre. Nahum Tate’s tragic-comic King Lear (1681) was described as an execrable piece of dementation, but played on London stages for one hundred and fifty years. David Garrick was equally tempted to adapt King Lear in the eighteenth century, as were the burlesque playwrights of the nineteenth. In the twentieth century, the meddling continued with works like King Lear’s Wife (1913) by Gordon Bottomley and Dead Letters (1910) by Maurice Baring. -
Directed by David Schwingle
THE UNIVERSITY CLASSIC PLAYERS in William Shakespeare’s Directed by David Schwingle Set and Costume Design by Jeffrey Stegall Lighting design by Richard Streeter Music by Kenon Renfrow CAST OF CHARACTERS DIRECTOR’S NOTES Lear, King of Britain ......................................................................... Ron Pyle It is a fearful thing to write about Shakespeare (brief let me be!). The fear increases when one approaches the Goneril, Lear’s eldest daughter ............................................................... Erin Naler towering achievement that is King Lear. The wheel turns a bit more toward a paralyzed state if one considers Duke of Albany, Goneril’s husband ................................................... Harrison Miller the laden, ceremonial barge of relevant scholarship on the subjects. (Imagine entering a room and seeing Oswald, Goneril’s steward ............................................................. Nathan Pittack the eminent Shakespeare scholar, Emma Smith, or our local Spenser and Shakespeare scholar, Ron Horton, Regan, Lear’s second daughter ............................................................ Emily Arcuri comfortably seated, smiling at you!) And yet, though surrounded by giants on every side, some of Lear’s own Duke of Cornwall, Regan’s husband ..................................................... Alex Viscioni making, King Lear pushes on, so I’ll push on and pen a few words about Lear, language, and love. Cordelia, Lear’s youngest daughter .................................................... -
Edmund in King Lear the Role of Edmund in Shakespeare's King Lear Is Simultaneously Minor Yet Pivotal I
Rachel Horton ENG 4336 Evil or Misunderstood: Edmund in King Lear The role of Edmund in Shakespeare’s King Lear is simultaneously minor yet pivotal in the play as a whole. The main plot discusses Lear and his struggle to maintain both his kingdom and his family. In this respect, Edmund means very little in the grand scheme of things and serves primarily as a sub-plot character who mirrors the main plot. Yet Shakespeare moves him fairly quickly into a person of influence in the play and in the conclusion, Edmund’s actions directly impact the final tragic ending. As a bastard child, Edmund has little to look forward to from family or society. Edmund, therefore, has an unequivocal desire to “get ahead in the world, and, since he has little charity, his quickest and most direct method is to supplant his brother” (Ellis 277). This desire leads to a “swift deception” (Ellis 275) of both Gloucester and Edgar and results in an “inversion of order” (Ellis 289). As a bastard son in a restrictive and hyper-ordered society, Edmund is determined to “strike off all shackles that might inhibit the free play of his energies. He therefore denies the inherited medieval standards of Elizabethan society” (Delany 431) and attempts to push himself forward in a manner that is indicative of a “political ruthlessness” which espouses a “strict and often brutal functionalism in social life” (Delany 433) He flippantly brushes aside the individual's obligations to society as no more than "the plague of custom" (I.ii.3) and calls upon Nature to “stand up for bastards” (I.ii.10). -
“Revenge in Shakespeare's Plays”
“REVENGE IN SHAKESPEARE’S PLAYS” “OTHELLO” – LECTURE/CLASS WRITTEN: 1603-1604…. although some critics place the date somewhat earlier in 1601- 1602 mainly on the basis of some “echoes” of the play in the 1603 “bad” quarto of “Hamlet”. AGE: 39-40 Years Old (B.1564-D.1616) CHRONO: Four years after “Hamlet”; first in the consecutive series of tragedies followed by “King Lear”, “Macbeth” then “Antony and Cleopatra”. GENRE: “The Great Tragedies” SOURCES: An Italian tale in the collection “Gli Hecatommithi” (1565) of Giovanni Battista Giraldi (writing under the name Cinthio) from which Shakespeare also drew for the plot of “Measure for Measure”. John Pory’s 1600 translation of John Leo’s “A Geographical History of Africa”; Philemon Holland’s 1601 translation of Pliny’s “History of the World”; and Lewis Lewkenor’s 1599 “The Commonwealth and Government of Venice” mainly translated from a Latin text by Cardinal Contarini. STRUCTURE: “More a domestic tragedy than ‘Hamlet’, ‘Lear’ or ‘Macbeth’ concentrating on the destruction of Othello’s marriage and his murder of his wife rather than on affairs of state and the deaths of kings”. SUCCESS: The tragedy met with high success both at its initial Globe staging and well beyond mainly because of its exotic setting (Venice then Cypress), the “foregrounding of issues of race, gender and sexuality”, and the powerhouse performance of Richard Burbage, the most famous actor in Shakespeare’s company. HIGHLIGHT: Performed at the Banqueting House at Whitehall before King James I on 1 November 1604. AFTER: The play has been performed steadily since 1604; for a production in 1660 the actress Margaret Hughes as Desdemona “could have been the first professional actress on the English stage”. -
Meddling with Masterpieces: the On-Going Adaptation of King Lear
Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the Department of English © Lynne Bradley, 2008 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photo-copying or other means, without the permission of the author. ISBN: 978-0-494-52942-3 ii Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) iii Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) Abstract The temptation to meddle with Shakespeare has proven irresistible to playwrights since the Restoration and has inspired some of the most reviled and most respected works of theatre. Nahum Tate’s tragic-comic King Lear (1681) was described as an execrable piece of dementation, but played on London stages for one hundred and fifty years. David Garrick was equally tempted to adapt King Lear in the eighteenth century, as were the burlesque playwrights of the nineteenth. -
The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 12-2018 The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere Sarah Marksteiner Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Playwriting Commons Recommended Citation Marksteiner, Sarah, "The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere" (2018). Undergraduate Honors Theses. Paper 1264. https://scholarworks.wm.edu/honorstheses/1264 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in Theatre from The College of William and Mary by Sarah A. Marksteiner Williamsburg, VA December 7, 2018 1 TABLE OF CONTENTS ABSTRACT ............................................................................................................................... 2 CHAPTER I: THE GENESIS ................................................................................................... -
"The Lusty Stealth of Nature": Sexuality and Anitifeminism in King Lear
Atlantis Vol. 11 No. 1 Fall/Automne 1985 "The lusty stealth of nature": Sexuality and anitifeminism in King Lear Claudette Hoover Queen's University Human sexuality is an acknowledged crux of even when it is considered (as in analyses of the play King Lear. Aside from numerous uni• Lear's sex nausea), it is typically approached as a versalizing and derogatory references to sexual• symbol of human brutality, rapaciousness, and ity, there is the puzzling relationship between hypocrisy.2 Without denying the symbolic value Gloucester's sin of adultery and the sins against of the play's stress on sexuality, I will argue that him, the significance of Goneril and Regan's King Lear is much more concerned with lust in lust for Edmund which is introduced into the action than with lust as symbol and that an plot so surprisingly and so late, and the dramatic understanding of this fact clarifies at least two of function, if any, of the king's obsession with its much debated and interrelated problems. carnality. Closely connected to these matters is First, it shows that the king's movement from his the remarkable extent to which sexual appetite egocentric love of the first scene, through anti- controls the events of both the main plot and the eroticism and anti-femininism, to disinterested echo plot. Not only does lust contribute directly love (that is to say, his progression from Eros to to the downfalls of five of the major characters Agape) is required before his awakening to Cor• (Tom O'Bedlam1, Edmund, Gloucester, Goneril, delia and involves rejecting both his early ideali• and Regan), but even Edgar, Albany and Corde• zation and his later condemnation of women. -
Literature : King Lear ( Act (1
Literature : King Lear Act (1 ( Farhouda Ferwana Rula Farouq Al Farra Objectives: Students are expected to: Scan the 1st act for details, then answer comprehension questions. 2 A long time ago, Lear was King of Britain. He had three daughters. The oldest daughter, Goneril, was married to the Duke of Albany. His middle daughter, Regan, was the wife of the Duke of Cornwall. The King of France and the Duke of Burgundy both wanted to marry his youngest daughter, Cordelia. 3 A long time ago, Lear was King of Britain. He had three daughters. The oldest daughter, Goneril, was married to the Duke of Albany. His middle daughter, Regan, was the wife of the Duke of Cornwall. The King of France and the Duke of Burgundy both wanted to marry his youngest daughter, Cordelia. Answer the following question: 1. Who was Lear? How many daughters did he have? He was King of Britain and he had three daughters, Goneril, Regan and Cordelia. 4 King Lear was old and tired, and he decided to give the country to his three daughters. They and their husbands would rule instead of him, while he, with one hundred knights to protect him, would stay with each daughter in turn for a month. 5 King Lear was old and tired, and he decided to give the country to his three daughters. They and their husbands would rule instead of him, while he, with one hundred knights to protect him, would stay with each daughter in turn for a month. 2. What will happen when he gives them the country? a. -
Descendants of Llyr King Lear
Descendants of Llyr King Lear Generation 1 1. LLYR KING1 LEAR was born in 10 AD in Abt,,British Columbia,Canada. He died in 10 AD in AD,,,. He married PENARDIM CELTIC. She was born in Judea, , British Columbia, Canada. Llyr King Lear and Penardim Celtic had the following child: 2. i. BRAN THE2 BLESSED (son of Llyr King Lear and Penardim Celtic) was born in 21 AD in Monmothshire, , , England. He died in 1936 in Monmothshire, , , England. He married ENYGEUS BEN JOSEPH. She was born in Ad, Maluku, Indonesia. She died in Ely, Cambridgeshire, , England. Generation 2 2. BRAN THE2 BLESSED (Llyr King1 Lear) was born in 21 AD in Monmothshire, , , England. He died in 1936 in Monmothshire, , , England. He married ENYGEUS BEN JOSEPH. She was born in Ad, Maluku, Indonesia. She died in Ely, Cambridgeshire, , England. Bran The Blessed and Enygeus Ben Joseph had the following children: 3. i. CARADOC THE3 SILURES (son of Bran The Blessed and Enygeus Ben Joseph) was born in Trevan, Llanilid, Glamorganshire, England. He died in Avalon, Cape May, New Jersey, United States. He married LIVING VENISSA. ii. CARADOC CARACTACUS OF SILURIA (son of Bran The Blessed and Enygeus Ben Joseph) was born in 1980 in Siluria, , , England. He died in 1954 in Rome, Roma, Lazio, Italy. iii. KING OF THE SILURES CARADOC (son of Bran The Blessed and Enygeus Ben Joseph) was born in 65 AD in Trevan,Llanilid,Glamorganshire,. He died in Rome,,,. Generation 3 3. CARADOC THE3 SILURES (Bran The2 Blessed, Llyr King1 Lear) was born in Trevan, Llanilid, Glamorganshire, England. -
2017 Illinois Shakespeare Festival Program
Illinois State University ISU ReD: Research and eData Illinois Shakespeare Festival Fine Arts Summer 2017 2017 Illinois Shakespeare Festival Program School of Theatre and Dance Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/isf Part of the Theatre and Performance Studies Commons Recommended Citation School of Theatre and Dance, "2017 Illinois Shakespeare Festival Program" (2017). Illinois Shakespeare Festival. 34. https://ir.library.illinoisstate.edu/isf/34 This Book is brought to you for free and open access by the Fine Arts at ISU ReD: Research and eData. It has been accepted for inclusion in Illinois Shakespeare Festival by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. JULY 30 TO AUGUST 12, 2017 SEASON SPONSOR WONDER ON, TILL TRUTH MAKE ALL THINGS PLAIN. The Snyder Companies presenting sponsors of the 2017 Illinois Shakespeare Festival! 2 • illinoisshakes.com • Summer 2017 th 2017 40 Season A Midsummer Night's Dream by William Shakespeare Directed by Robert Quinlan Ewing Theatre Shakespeare's Amazing Cymbeline by William Shakespeare Adapted by Chris Coleman Directed by Andy Park Ewing Theatre I Heart Juliet Written and Composed by Q Brothers Collective (GQ, JQ, Jax, and Pos) Directed by Kevin Rich Westhoff Theatre Sponsored by Paul and Sandra Harmon The 2017 Illinois Shakespeare Festival is a proud member of: Illinois State University • College of Fine Arts • School of Theatre and Dance Summer 2017 • 40th Season • 3 Whether you’re investing in training or tile, We offer options that fit your life. hbtbank.com 866-897-2276 Banking is personal.