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KL

Grace Gregory Englisch 37 Karten

Karten in diesem Stapel (37)

  1. 1A.C. Bradley"'King Lear' is too huge for the stage"
  2. 2Race Capet"Shakespeare very consciously places Edmund outside the domain of human morality in which heroes and villains exist and instead challenges us to accept him and the Nature he represents as a part of the order of the world, even as Edmund's own society could not."
  3. 3Arnold Kettle – Marxist“On the one hand are those who accept the old order (Lear, Gloucester, Kent, Albany) which has to be seen as, broadly speaking, the feudal order, on the other hand are the new people, the individualists (Goneril, Regan, Edmund, Cornwall) who have the characteristic outlook of the bourgeoisie”
  4. 4Samuel Johnson"an act too horrid to be endured in dramatic exhibition" - gouging of the eyes
  5. 5Charles Gildon"We rejoice at the death of the Bastard and the two Sisters, as of Monsters in Nature under whom the very Earth must groan"
  6. 6Copelia Kahn1) "It is interesting that there is no literal mother in King Lear"
    2) "Lear goes mad because he is unable to accept his dependence on the feminine, his daughters"
  7. 7Jan Koft"King Lear is a play about the disintegration of the world"
  8. 8Thorndike"Inhumane sisters"
  9. 9Robert West"[Edmund] has still a share in being; his most destructive actions do not entirely snuff it out"
  10. 10Kathleen McLuskie1) "Women are made to submit - Coredilia - or must be destroyed - Goneril and Regan
    2) "Cordelia's return is a restoration of patriarchy, of the old order. But this cannot be wholly reduced to male power"
    3) "Family relations in this play are seen as fixed and determined, and any movement within them is portrayed as a destructive reversal of natural order"
  11. 11Charles Lamb1) "We see not Lear, but we are Lear, we are in his mind"
    2) "Lear is essentially impossible to be represented on a stage"
  12. 12Hudson"Personifications of ingratitude" - Goneril and Regan
  13. 13Granville Barker"The intellectual denial of humanity to Goneril and Regan is instrumental to the psychological denial that they really are Lear's daughters"
  14. 14S.L Goldberg"There is no supernatural justice – only human natural justice"
  15. 15A.C.Bradley" Lear's words are monstrously unjust'
  16. 16Helen Norris"The horror of Lear's story is the unnatural behavior of Goneril and Regan... not only personal sins but an upsetting of civilized values"
  17. 17G.Wilson Knight"Slowly, painfully... we see a religion born of disillusionment, suffering and sympathy, a purely spontaneous, natural growth of human spirit, developing from nature magic to God"
  18. 18Hal Holbrook (Part 1)1) "Boisterous, demanding, arrogant. He expects absolute obedience"
    2) "Lear slips into madness... direct result of Lear's refusal to face the awful truth that has exploded in his mind"
    3) "The coils of Evil spread and fester in the subplot of the play"
    4) "The paranoia of age is stalking him"
  19. 19Hal Holbrook (Part 2)5) "Lear is not a man of conscious intellect"
    6) "Clear that he has no attention of giving his powers to anyone"
    7) "He has clung steadfastly to the conviction that he is a loving father, despite all evidence of the contrary"
    8) "Star of his heart, refuses to play the game" (Cordelia)
  20. 20Hal Holbrook (Part 3)9) "Gloucester has been a blind fool"
    10) "The Fool is and intellectual... the teacher trying to make the adult student (Lear) understand what is happening, what is being done to him and what he is doing to himself"
  21. 21Keith ThomasDiscussing the 'gerontocratic ideal', Keith Thomas notes "15th and 16th centuries are conspicuous for a sustained desire to subordinate persons in their teens and 20s"
  22. 22Carol Chillington Rutter1) “The fool is dressed as a parody king”– carries a bauble simulating the kings sceptre, but his coxcomb also acts as a mock crown
    2) “Lear is the real fool here” – Makes his “daughters” his “mothers”
  23. 23Coleridge1) “The contrast of the Fool wonderfully heightens the colouring of some of the most painful situations"
    2) “Brought into living connection with the pathos of the play, with the suffering”
    3) “The Fool’s conclusion of this act by a grotesque prattling seems to indicate the dislocation of feeling that has begun and is to be continued”
  24. 24HugoThe Fool provides “Comic relief
  25. 25William Empson (Part 1)1) “It is the Fool who causes the beginning of the storm against Lear, rather than his shadowy train of deboshed knights”
    2) “He begins to immediately tease Lear for the folly of his behaviour”
    3) “It is because they are wicked that Lear was foolish to give up his power over them…”
  26. 26William Empson (Part 2)4) 6 references to the whip during his time with the Fool, two of which are threats
    5) “Lear, unlike Edmund, assumes that Nature is good and will punish wickedness, so that there are two views of Nature in the play; but one might also accuse Lear of believing that Nature is an amoral magical force which will obey his royal caprices”
    6) “He threatens to pluck out the eyes if they weep”
  27. 27William Empson (Part 3)7) Lear has an “obscure connection with Gloucester”
    8) “The clown has succeeded in making him appear tolerably human”
    9) “The Fool is labouring to distract Lear from his anger and thus save him from going mad”
    10) “The Fool understands about madness because he is mad himself”
  28. 28William Empson (Part 4)11) “[The gods] are confused… they can suffer as well as cause suffering, but in any case they can fool and cause suffering”
    12) “The effect of the false renunciation is that Lear as made a fool of himself on the most cosmic and appalling scale possible; he has got on the wrong side of the next world as well as on the wrong side of this one”
  29. 29William Empson (Part 5)13) “By being such a complete fool Lear may become in some mystical way superlatively wise and holy”
    14) Death of Coredlia and Lear “is like a last trip-up as the clown leaves the stage; its shock and senselessness… are as far as Chekhov from normal tragedy”
  30. 30Fintan O'Toole1) "Why des Cordelia not join in the game of puffed-up langauge for the sake of peace and quiet?"
    2) "Lear breaks down the bond of family"
  31. 31Jonathan Dollimore"A play about power, property and inheritance"
  32. 32Giorgio Agamben"[I]n our culture, the decisive political conflict... is that between animality and the humanity of man"
  33. 33Kott1) “Melodrama… dealing with a tragic king”
    2) “Fate was to arouse pity and terror”
  34. 34Frank Kermode"'Nothing' is associated with seeing, sight, and loss of it"
  35. 35Diane Bornstien"Women are given the same advice that is given to servants"
  36. 36Richard Strier1) "The love test is a kind of game Lear is playing"
    2) "Goneril and Regan are mouthpieces for 'duty' and 'obedience'
  37. 37Susan Bruce1) "The pure blooded aristocrat is more beautiful, more clever, more good, and, well, just more pure, than those base-born"
    2) "Bastards are evil in Renaissance drama"

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Karteikarten am KL , erstellt von Grace Gregory am 09/05/2016.
Erstellt von
Grace Gregory
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