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Flashcards

WOB & TR LINKS

Aida Veizaj English 37 cards

Cards in this deck (37)

  1. 1MarriageWOB -
    TR -
  2. 2EducationWOB:
    TR:
  3. 3AuthorityWOB:
    TR:
  4. 4CarnivalesqueWOB:
    TR:
  5. 5LoveWOB:
    TR:
  6. 6Forbidden pleasures are the bestWOB:
    TR:
  7. 7Chaos & orderWOB:
    TR:
  8. 8Power - corruption?WOB:
    TR:
  9. 9Innocence - fragility?WOB:
    TR:
  10. 10Verbal wit is women's strongest weaponWOB:
    TR:
  11. 11Writers, readers and audiences delight in the spectacle of sinfulnessWOB:
    TR:
  12. 12Gender rolesWOB:
    TR:
  13. 13Sexual appetiteWOB:
    TR:
  14. 14BathWOB:
    TR:
  15. 15A sociological perspectiveWOB:
    TR:
  16. 16The role of literatureWOB:
    TR:
  17. 17PoeticWOB:
    TR:
  18. 18Literary influencesWOB:
    TR:
  19. 19Timeless?WOB:
    TR:
  20. 20MetaphorsWOB:
    TR:
  21. 21LinguisticsWOB:
    TR:
  22. 22Literary devicesWOB:
    TR:
  23. 23HumourWOB:
    TR:
  24. 24KL - Darker purposeLear begins his deliberately formal speech by referring to his 'darker purpose'. There is a variation on the usual syntax when Lear says that 'we have divided/ In three our kingdom' rather than 'our kingdom in three', but this is quite in keeping with the ceremonial quality of the occasion. Lear talks in a rather melodramatic and self-pitying fashion of passing on his kingdom to 'younger strengths', so that he may 'unburdened crawl toward death'. He is also anxious that 'future strife/May be prevented now' - a statement that is highly ironic, given future events.
  25. 25Unburthened crawlCrawl seems a strange word to link with a loss of worry and responsibility
  26. 26By the sacred radiance of the sunHere the King wants to emphasise his rejection of Cordelia and so her refers to the sun, the planets and the stars, thus giving the passage sublimity and a cosmic dimension. On the other hand, when a tender idea has to be expressed, humbler images are used equally effectively. Lear had thought of spending the rest of his life with Cordelia and so he uses the image of a nursery:
  27. 27I lov'd her most, thought to set my rest On her kind nurseryImagery from archery is used to describe an action that is irrevocable. It is, however, not an uncommon image.
  28. 28A third more opulentOnce the first two shares are granted, he invites Cordelia to earn "A third more opulent than [her] sisters'." Might such a gesture have meant that he expected Cordelia to preside in person over her new kingdom? The text doesn't resolve the issue, nor does it project in any precise way an outcome that, given the unexpected turn of events, remains hypothetical. But Shakespeare's other plays do not offer examples of absentee rulers, except temporarily to wage foreign wars or carry out diplomatic missions. Nor do historical parallel suggests the likelihood of absentee rule. Surely had Elizabeth I married royalty, no one would have her to leave Britain. Lear's intent to grant Cordelia the most opulent share of the kingdom upon her profession of the fullness of her love may have been a contrivance, designed by the aging monarch to obstruct Cordelia's departure.
  29. 29Come not between the Dragon and his wrathDragon - emblem of the ancient British monarchy, symbolizing ruthless power.
  30. 30Little-seeming substanceLear's praise is capable of many interpretations according to whether we read 'little seeming substance', 'little seeming-substance' or 'little, seeming substance' and according to the meaning we put on seeming.
  31. 31Than on a wretch whom Nature is ashamed Almost acknowledge hers.Lear is suggesting that Cordelia is not only a stranger to him now, but also barely recognised as being human
  32. 32Better thou Hadst not been born than not t'have pleased me betterThe depths of Lear's cruelty becomes quite clear. And his attack on her is couched in gendered terms. A woman must be contained, and the phrase 'pleased me better' also has sexual connotations.
  33. 33Untented woundings of a father's curse Pierce every sense about theeLear wishes for Goneril what he finds happening to himself as he cries. He would rather not have eyes at all than have eyes that, in weeping, constitute an obstacle to their capacity to see. The very attempt to deny the eyes' capacity to weep in an attempt to assert the integrity of their seeing in symptom and cause of his madness.
  34. 34O! let me not be mad, not mad, sweet heavenLear is still clinging to sanity, the vision was one that had meaning for Everyman.
    This is Lear's first appeal to heaven (now still sweet to him) in which the note of humility enters; like all the other appeals -- prayers, orders, demands - it will be denied.
    Lear's cry pies the scene at climax. It is significant that only one Gentleman is left, the old bustle of attendants is stilled, even this one will disappear from Lear's immediate train. The man's entrance is a present reality that can still return Lear to present consciousness.
  35. 35Blow, winds, and crack your cheeks! rage! blow!...Present or a past principle at the second element - thanks to the verbal nature of the second component, and the combination of these two features can allow them to create very powerful passages.
    The violence that Lear is inciting the elements to perpetrate is mirrored by his language. His wish for action is stressed through terms that imply violence and power (Troilus and Cressida), Shakespeare explains as 'the dreadful spout / Which shipmen do the hurricano call', syntax (notice the short, quick sentences that open the passage, and the asyndetic union of verbs: drenched, drowned, crack, spill), word-order (blow, rage, blow, spout, singe, strike, crack are all brought to the forefront by their presence either at the beginning or the end of a line).
  36. 36Besides the verbal adjectives, all Shakespearean coinages and all with a present participle as the second element, which emphasises the immediacy of the action. Particularly powerful is the adjective thought-executing because it is not clear whether Lear is calling on lightning to destroy thoughts or to carry out his thoughts, or perhaps both. Thus, it highlights the connection between the violence around Lear and in Lear's own mind. The association of verbal compounds with the high style, the embellished language of poetry.Blow...
  37. 37I am a man More sinn'd against than sinning.Critic A.C. Bradley remarks that throughout this play, Lear follows an old man's whim, half generous, half selfish; and in a moment it loses all the power of darkness upon him

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Flashcards on WOB & TR LINKS, created by Aida Veizaj on 14/03/2015.
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Aida Veizaj
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