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| king lear as a shakespearean tragedy: King Lear William Shakespeare, Samuel Johnson, 1785 |
| king lear as a shakespearean tragedy: Shakespearean Tragedy Andrew Cecil Bradley, 1922 1908. From the Introduction: In these lectures I propose to consider the four principal tragedies of Shakespeare from a single point of view. Nothing will be said of Shakespeare's place in the history of either English literature or of the drama in general. No attempt will be made to compare him with other writers. I shall leave untouched, or merely glanced at, questions regarding his life and character, the development of his genius and art, the genuineness, sources, texts, interrelations of his various works. Even what may be called, in a restricted sense, the poetry of the four tragedies-the beauties of style, diction, versification-I shall pass by in silence. Our one object will be what, again in a restricted sense, may be called dramatic appreciation; to increase our understanding and enjoyment of these works as dramas; to learn to apprehend the action and some of the personages of each with a somewhat greater truth and intensity, so that they may assume in our imaginations a shape a little less unlike the shape they wore in the imagination of their creator. |
| king lear as a shakespearean tragedy: Shakespeare's Tragedy of King Lear William Shakespeare, 1880 |
| king lear as a shakespearean tragedy: Shakespearean Tragedy Andrew Cecil Bradley, 1926 |
| king lear as a shakespearean tragedy: Four Great Tragedies William Shakespeare, 1985-02 Contains Hamlet, Othello, King Lear and Macbeth. Copyright © Libri GmbH. All rights reserved. |
| king lear as a shakespearean tragedy: Identity in Shakespearean Drama James P. Driscoll, 1983 This work critically investigates Shake speare's fascination with the problem of character identity and draws on the analytical methods of Jungian psychology to help reveal his solution to them. It examines the ways in which Shakespeare defines his metastance and ideal identity through dream and stage metaphors. |
| king lear as a shakespearean tragedy: Shakespeare's Tragedy of King Lear William Shakespeare, 1898 |
| king lear as a shakespearean tragedy: Shakespearean Tragedy and Its Double Kent Cartwright, 1991-08-12 Why does Shakespearean tragedy continue to move spectators even though Elizabethan philosophical assumptions have faded from belief? Shakespearean Tragedy and Its Double seeks answers in the moment-by-moment dynamics of performance and response, and the Shakespearean text signals those possibilities. Shakespearean Tragedy and Its Double investigates the poetics of audience response. Approaching tragedy through the rhythms of spectatorial engagement and detachment (aesthetic distance), Kent Cartwright provides a performance-oriented and phenomenological perspective. Shakespearean Tragedy and Its Double analyzes the development of the tragic audience as it oscillates between engagement—an immersion in narrative, character, and physical action—and detachment—a consciousness of its own comparative judgments, its doubts, and of acting and theatricality. Cartwright contends that the spectator emerges as a character implied and acted upon by the play. He supports his theory with close readings of individual plays from the perspective of a particular element of spectatorial response: the carnivalesque qualities of Romeo and Juliet; the rhythm of similitude, displacement, and wonder in the audience's relationships to Hamlet; aesthetic distance as scenic structure in Othello; the influence of secondary characters and ensemble acting on the Quarto King Lear; and spectatorship as action itself in Antony and Cleopatra. Shakespearean Tragedy and Its Double treats the dramatic moment in Shakespearean tragedy as uncommonly charged, various, indeterminate, always negotiating unpredictably between the necessary and the spontaneous. Cartwright argues that, for the audience, the very dynamism of tragedy confers a certain enfranchisement, and the spectator's experience emerges as analogous to, though different from, that of the protagonist. Through its own engagement and detachments the audience becomes the final performer creating the play's meaning. |
| king lear as a shakespearean tragedy: Shakespeare's Tragedy of King Lear William Shakespeare, 1905 |
| king lear as a shakespearean tragedy: The One King Lear Brian Vickers, 2016-04-04 In the 1980s influential scholars argued that Shakespeare revised King Lear in light of theatrical performance, resulting in two texts by the bard’s own hand. The two-text theory hardened into orthodoxy. Here Sir Brian Vickers makes the case that Shakespeare did not cut his original text. At stake is the way his greatest play is read and performed. |
| king lear as a shakespearean tragedy: Shakespearian Tragedy H. B. Charlton, 1948 H. B. Charlton focuses on Shakespeare's tragedies specifically as plays along with the themes of man and morality. |
| king lear as a shakespearean tragedy: Shakespeare's Tragedy of King Lear William Shakespeare, 1907 Lear, the aging King of Britain, has chosen to lay aside the care of kingship and divide his kingdom between his three daughters. Their share is to be determined by their love for him. Two daughters speak with grandiose expressions of love while the third daughter finds nothing to say. The courts disinherit the third daughter, Cordelia. Much treachery, murder, and deceit ensued and Lear and Cordelia are captured and sentenced to death. |
| king lear as a shakespearean tragedy: King Lear, the Space of Tragedy Grigoriĭ Mikhaĭlovich Kozint︠s︡ev, 1977-01-01 |
| king lear as a shakespearean tragedy: Four Tragedies William Shakespeare, 1994 Contains Hamlet, Othello, King Lear and Macbeth. |
| king lear as a shakespearean tragedy: Shakespeare's Tragedy of King Lear William Shakespeare, 1903 |
| king lear as a shakespearean tragedy: SHAKESPEARES TRAGEDY OF KING LEAR WILLIAM J. ROLFE, 1908 |
| king lear as a shakespearean tragedy: The Tragedy of King Lear William Shakespeare, 2008 One of the most popular of Shakespeare's plays, King Lear is also one of the most thought-provoking. The play turns on the practical ramifications of the words of Christ that we should render unto Caesar that which is Caesar's and unto God that which is God's. When confronted with the demand that she should render unto Caesar that which is God's, Cordelia chooses to love and be silent. As the play unfolds each of the principal characters learns wisdom through suffering. This edition includes new critical essays by some of the leading lights in contemporary literary scholarship. |
| king lear as a shakespearean tragedy: The Cambridge Companion to Shakespearean Tragedy Claire McEachern, 2013-08-08 This revised and updated Companion acquaints the student reader with the forms, contexts, critical and theatrical lives of the ten plays considered to be Shakespeare's tragedies. Thirteen essays, written by leading scholars in Britain and North America, address the ways in which Shakespearean tragedy originated, developed and diversified, as well as how it has fared on stage, as text and in criticism. Topics covered include the literary precursors of Shakespeare's tragedies, cultural backgrounds, sub-genres and receptions of the plays. The book examines the four major tragedies and, in addition, Titus Andronicus, Romeo and Juliet, Julius Caesar, Antony and Cleopatra, Coriolanus and Timon of Athens. Essays from the first edition have been fully revised to reflect the most up-to-date scholarship; the bibliography has been extensively updated; and four new chapters have been added, discussing Shakespearean form, Shakespeare and philosophy, Shakespeare's tragedies in performance, and Shakespeare and religion. |
| king lear as a shakespearean tragedy: Shakespeare's tragedy of King Lear ... With historical and explanatory notes by C. Kean, etc William Shakespeare, 1858 |
| king lear as a shakespearean tragedy: Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth A. C. Bradley, 2019-11-19 In Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth, renowned critic A. C. Bradley delves into the profound emotional and philosophical depths of William Shakespeare'Äôs most celebrated tragedies. Through meticulous analysis and eloquent prose, Bradley transcends mere plot summary to explore the intricate characterizations, thematic richness, and moral complexities that define these timeless works. His lectures illuminate the tragic structure, the intricacies of fate versus free will, and the psychological motivations of Shakespeare's characters, situating them within the socio-political context of the Elizabethan era. A. C. Bradley, an eminent scholar of the late 19th and early 20th centuries, was profoundly influenced by the Romantic tradition and the emerging psychological discourse of his time. His scholarly background at Oxford and intimate familiarity with Shakespeare's oeuvre inform his insightful critique, evident in his passionate advocacy for viewing tragedy not just as a genre but as a lens through which to understand human experience. Bradley's lectures were delivered at the University of Oxford, demonstrating his commitment to academic rigor and public discourse. This seminal work is indispensable for students, scholars, and enthusiasts of Shakespeare alike. It invites readers to engage with the emotional power and philosophical queries embedded in these tragedies, making it an essential addition to any literary collection. Bradley'Äôs erudition enhances our appreciation of Shakespeare, reaffirming the relevance of these works in understanding human nature and existential dilemmas. |
| king lear as a shakespearean tragedy: Shakespearean Tragedy Lectures on Hamlet, Othello, King Lear, Macbeth Bradley, 2020-12-02 A.C. Bradley put Shakespeare on the map for generations of readers and students for whom the plays might not otherwise have become real at all' writes John Bayley in his foreword to this edition of Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear and Macbeth. |
| king lear as a shakespearean tragedy: The Tragedy of King Lear William Shakespeare, 1904 |
| king lear as a shakespearean tragedy: Shakespeare and Senecan Tragedy Curtis Perry, 2020-10-15 Shakespeare's tragic characters have often been seen as forerunners of modern personhood. It has been assumed that Shakespeare was able to invent such lifelike figures in part because of his freedom from the restrictions of classical form. Curtis Perry instead argues that characters such as Hamlet and King Lear have seemed modern to us in part because they are so robustly connected to the tradition of Senecan tragedy. Resituating Shakespearean tragedy in this way - as backward looking as well as forward looking - makes it possible to recover a crucial political dimension. Shakespeare saw Seneca as a representative voice from post-republican Rome: in plays such as Coriolanus and Othello he uses Senecan modes of characterization to explore questions of identity in relation to failures of republican community. This study has important implications for the way we understand character, community, and alterity in early modern drama. |
| king lear as a shakespearean tragedy: Sonnets and Poems William Shakespeare, 1905 |
| king lear as a shakespearean tragedy: The Tragedy of King Lear William Shakespeare, 2017-12-27 Its figures harden their hearts, engage in violence, or try to alleviate the suffering of others. Shakespeare's King Lear challenges us with the magnitude, intensity, and sheer duration of the pain that it represents. Emotions are extreme, magnified to gigantic proportions. What, then, keeps bringing us back to King Lear? For all the force of its language, King Lear is almost equally powerful when translated, suggesting that it is the story, in large part, that draws us to the play. The play tells us about families struggling between greed and cruelty, on the one hand, and support and consolation, on the other. For more information, visit Folger.edu. Lear himself rages until his sanity cracks. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. We also see old age portrayed in all its vulnerability, pride, and, perhaps, wisdom--one reason this most devastating of Shakespeare's tragedies is also perhaps his most moving. The authoritative edition of King Lear from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers, includes: -Freshly edited text based on the best early printed version of the play -Full explanatory notes conveniently placed on pages facing the text of the play -Scene-by-scene plot summaries -A key to the play's famous lines and phrases -An introduction to reading Shakespeare's language -An essay by a leading Shakespeare scholar providing a modern perspective on the play -Fresh images from the Folger Shakespeare Library's vast holdings of rare books -An annotated guide to further reading Essay by Susan Snyder The Folger Shakespeare Library in Washington, DC, is home to the world's largest collection of Shakespeare's printed works, and a magnet for Shakespeare scholars from around the globe. |
| king lear as a shakespearean tragedy: Shakespeare's Tragedy of King Lear William Shakespeare, 1895 |
| king lear as a shakespearean tragedy: Four Great Tragedies William Shakespeare, 1998-06 The greatest works of tragedy from the Bard, this book features Hamlet, Othello, King Lear and Macbeth. |
| king lear as a shakespearean tragedy: Shakespeare's Tragedy of King Lear Shakespeare, 1882 |
| king lear as a shakespearean tragedy: The History of King Lear Nahum 1652-1715 Tate, William 1564-1616 King Shakespeare, E (Elizabeth) Active 1670- Flesher, 2023-07-18 This is a rare edition of William Shakespeare's classic play, King Lear, printed in 1675. The volume features an engraved frontispiece and title page, as well as contemporary ownership inscriptions and marginalia. The play has been adapted by Nahum Tate, with significant alterations to the original text. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. |
| king lear as a shakespearean tragedy: The Tragedie of King Lear William Shakespeare, 2014-11-22 'King Lear, ' in which Shakespeare's tragic genius moved without any faltering on Titanic heights, was written during 1606, and was produced before the Court at Whitehall on the night of December 26 of that year. It was entered on the 'Stationers' Registers' on November 26, 1607, and two imperfect editions, published by Nathaniel Butter, appeared in the following year; neither exactly corresponds with the other or with the improved and fairly satisfactory text of the Folio. The three versions present three different playhouse transcripts. Like its immediate predecessor, 'Macbeth, ' the tragedy was mainly founded on Holinshed's 'Chronicle.' The leading theme had been dramatised as early as 1593, but Shakespeare's attention was no doubt directed to it by the publication of a crude dramatic adaptation of Holinshed's version in 1605 under the title of 'The True Chronicle History of King Leir and his three Daughters-Gonorill, Ragan, and Cordella.' Shakespeare did not adhere closely to his original. He invested the tale of Lear with a hopelessly tragic conclusion, and on it he grafted the equally distressing tale of Gloucester and his two sons, which he drew from Sidney's 'Arcadia.' Hints for the speeches of Edgar when feigning madness were drawn from Harsnet's 'Declaration of Popish Impostures, ' 1603. In every act of 'Lear' the pity and terror of which tragedy is capable reach their climax. Only one who has something of the Shakespearean gift of language could adequately characterise the scenes of agony-'the living martyrdom'-to which the fiendish ingratitude of his daughters condemns the abdicated king-'a very foolish, fond old man, fourscore and upward.' The elemental passions burst forth in his utterances with all the vehemence of the volcanic tempest which beats about his defenceless head in the scene on the heath. The brutal blinding of Gloucester by Cornwall exceeds in horror any other situation that Shakespeare created, if we assume that he was not responsible for the like scenes of mutilation in 'Titus Andronicus.' At no point in 'Lear' is there any loosening of the tragic tension. The faithful half-witted lad who serves the king as his fool plays the jesting chorus on his master's fortunes in penetrating earnest and deepens the desolating pathos. |
| king lear as a shakespearean tragedy: Tragedy of King Lear William Shakespeare, 1887 |
| king lear as a shakespearean tragedy: The Tragedy of King Lear William Shakespeare, 2016-12-10 Why buy our paperbacks? Standard Font size of 10 for all books High Quality Paper Fulfilled by Amazon Expedited shipping 30 Days Money Back Guarantee BEWARE of Low-quality sellers Don't buy cheap paperbacks just to save a few dollars. Most of them use low-quality papers & binding. Their pages fall off easily. Some of them even use very small font size of 6 or less to increase their profit margin. It makes their books completely unreadable. How is this book unique? Unabridged (100% Original content) Font adjustments & biography included Illustrated About The Tragedy Of King Lear by William Shakespeare King Lear is a tragedy written by William Shakespeare. It depicts the gradual descent into madness of the title character, after he disposes of his kingdom giving bequests to two of his three daughters based on their flattery of him, bringing tragic consequences for all. Derived from the legend of Leir of Britain, a mythological pre-Roman Celtic king, the play has been widely adapted for the stage and motion pictures, with the title role coveted by many of the world's most accomplished actors. Originally drafted in 1605 or 1606, with its first known performance on St. Stephen's Day in 1606, the first attribution to Shakespeare was a 1608 publication in a quarto of uncertain provenance; it may be an early draft or simply reflect the first performance text. The Tragedy of King Lear, a more theatrical revision, was included in the 1623 First Folio. Modern editors usually conflate the two, though some insist that each version has its own individual integrity that should be preserved. |
| king lear as a shakespearean tragedy: Fools of Time Northrop Frye, 1996-02-06 In the Alexander Lectures for 1965-66 at the University of Toronto, Dr. Frye describes the basis of the tragic vision as being in time, in which death as the essential event that gives shape and form to life ... defines the individual, and marks him off from the continuity of life that flows indefinitely between the past and the future. In Dr. Frye's view, three general types can be distinguished in Shakespearean tragedy, the tragedy of order, the tragedy of passion, and the tragedy of isolation, in all of which a pattern of being in time shapes the action. In the first type, of which Julius Caesar, Macbeth, and Hamlet are examples, a strong ruler is killed, replaced by a rebel-figure, and avenged by a nemesis-figure; in the second, represented by Romeo and Juliet, Anthony and Cleopatra, and Troilus and Cressida, authority is split and the hero is destroyed by a conflict between social and personal loyalties; and in the third, Othello, King Lear, and Timon of Athens, the central figure is cut off from his world, largely as a result of his failure to comprehend the dynamics of that world. What all these plays show us, Dr. Frye maintains, is the impact of heroic energy on the human situation with the result that the heroic is normally destroyed ... and the human situation goes on surviving. Fools of Time will be welcomed not only by many scholars who are familiar with Dr. Frye's keen critical insight but also by undergraduates, graduates, high-school and university teachers who have long valued his work as a means toward a firmer grasp and deeper understanding of English literature. |
| king lear as a shakespearean tragedy: Shakespeare's Tragedy of King Lear Philo Melvyn Buck, William Shakespeare, 2018-02-20 This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. |
| king lear as a shakespearean tragedy: Tragic Conditions in Shakespeare Paul A. Kottman, 2009-10-26 Paul A. Kottman offers a new and compelling understanding of tragedy as seen in four of Shakespeare’s mature plays—As You Like It, Hamlet, King Lear, and The Tempest. The author pushes beyond traditional ways of thinking about tragedy, framing his readings with simple questions that have been missing from scholarship of the past generation: Are we still moved by Shakespeare, and why? Kottman throws into question the inheritability of human relationships by showing how the bonds upon which we depend for meaning and worth can be dissolved. According to Kottman, the lives of Shakespeare's protagonists are conditioned by social bonds—kinship ties, civic relations, economic dependencies, political allegiances—that unravel irreparably. This breakdown means they can neither inherit nor bequeath a livable or desirable form of sociality. Orlando and Rosalind inherit nothing “but growth itself” before becoming refugees in the Forest of Arden; Hamlet is disinherited not only by Claudius’s election but by the sheer vacuity of the activities that remain open to him; Lear’s disinheritance of Cordelia bequeaths a series of events that finally leave the social sphere itself forsaken of heirs and forbearers alike. Firmly rooted in the philosophical tradition of reading Shakespeare, this bold work is the first sustained interpretation of Shakespearean tragedy since Stanley Cavell’s work on skepticism and A. C. Bradley’s century-old Shakespearean Tragedy. |
| king lear as a shakespearean tragedy: King Lear Shakespeare William, 2014-10-29 King Lear is a genuine Shakespearean tragedy telling the story of a title character who descends into madness after foolishly disposing of his estate between two of his three daughters. |
| king lear as a shakespearean tragedy: Shakespeare's Tragedy of King Lear William Shakespeare, 1865 |
| king lear as a shakespearean tragedy: Shakespeare's Tragedy of King Lear William Shakespeare, 2016-05-05 This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. |
| king lear as a shakespearean tragedy: Shakespeare's Tragedy of King Lear (Classic Reprint) William J. Rolfe, 2017-11-02 Excerpt from Shakespeare's Tragedy of King Lear In the folio of 162 3 Lear occupies pages 283 - 309 in the division of Tragedies, and is divided into acts and scenes. The critics are fully agreed that the text is, on the whole. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. |
| king lear as a shakespearean tragedy: King Lear William Shakespeare, 2002 Featuring the images of some of the world's most famous stage and film actors, these additions to the all-new Oxford School Shakespeare introduce--and enthrall--young people to one of the greatest writers of all time. This season brings revised editions of five of the Bard's most famous plays--As You Like It, Othello, Hamlet, Love's Labour Lost and The Taming of the Shrew. Designed specifically for students unfamiliar with Shakespeare's rich literary legacy, these new editions present Shakespeare's sometimes-intimidating Middle English in a way that is easy-to-read and engaging for ages twelve and up. The notes and introductions have been completely revised, allowing unprecedented clarity and accessibility. Featuring new covers and new illustrations--including photos from recent productions of Shakespeare's plays from around the world--Oxford School Shakespeare brings all the pleasure of these literary treasures to life. |
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