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King Lear Critics Flashcards

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1
Q

Elton.

(Last act) shatters the foundations…

A

…of faith itself

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2
Q

Cedric watts.

It raises enduring questions about human nature, human…

A

…suffering, morality, religion and life’s significance

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3
Q

Watts.

We find incongruous…

A

…mixtures of weakness and strength

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4
Q

Wilson knight.

Argues that in KL, tragedy is perilously close to…

A

…bathos, absurdity and grotesque humour

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5
Q

Troilus and Cressida.

Sp suggests that when human beings deny divinely-ordained…

A

…principles of cooperation, the result may be an irrevocable collapse of order

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6
Q

Mcluskie.

Explores the relationship between power and gender, finishing that insubordination…

A

…by female characters results in chaos as it threatens the balance of power within the family: women with opinions frighten men

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7
Q

Mcluskie.

Fundamentally misogynistic. A paradigm for the sexual politics of the genre…

A

…the protagonist is always make with male concerns. sp aligns anarchy and sexual insubordination

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8
Q

Kahn.

Reason for Lear’s failure is that he fights down the repressed need for a mother figure. Lear’s progress from…

A

…misogynist to accepting of womanly values. Exploration of male anxiety. Hysteria characterised as feminine

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9
Q

Rosinger.

Claims the play is about G and L’s self discovery after..

A

…treating others as a means of self gratification

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10
Q

Marianne Novy.

Suggests king Lear critics the powerful rights fathers held over their daughters….

A

Lead abuses his authority over Cordelia and then needs her forgiveness

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11
Q

Psychoanalytical.

Personality is a result of unconscious and irrational desires…

A

…repressed memories or wishes, sexuality, fantasy, anxiety and conflict

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12
Q

Feminism.

Women as property-male possessions. Critics challenge the traditional portrayal of women as…

A

…examples of virtue or vice. They are like male characters, complex and flawed experiencing similar emotions to men

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13
Q

Liberal humanism.

Sought to demonstrate how tragedy was concerned with morality- showing man seeking good…

A

…but failing to do so, enduring suffering but achieving some kind of self knowledge and spiritus enlightenment

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14
Q

Hotson.

For in the place of a philosopher playing the wit-crazed fool, this more universal…

A

…tragedy presents the true idiot fool urging sharp truths in a vain attempt to make his master see better

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15
Q

Feminism.

Social anxieties are displaced onto…

A

…sexuality, giving rise to the concern about women who posed a threat to male authority.

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16
Q

Recent criticism.

Tended to sentimentalise the fool or view him as the key to the whole play…

A

… The intelligent outsider, loyal and decent who represents common sense

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17
Q

Hudson.

G&R are personifications…

A

…of ingratitude

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18
Q

Jan Kott.

All that remains at the end…

A

…is the earth, empty and bleeding

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19
Q

Johnson.

A play in which the wicked prosper…

A

…and the virtuous miscarry

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20
Q

Sun.

Under the clothes, the king…

A

…is equal to the beggar

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21
Q

Dollimore.

The gods are at best callously just…

A

…and at worst sadistically vindictive

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22
Q

Brandes.

views Cordelia as ‘the living emblem of womanly dignity…

A

…while the play as a whole portrayed the ‘titanic tragedy of human life

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23
Q

Bruce.

Views Cordelia to be a ‘figure whose loyalty withstands any horror that the…

A

…hegemonic, aristocratic and patriarchal order can throw at them: tyrannical anger, expulsion and banishment

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24
Q

Greenblatt.

Contends that Lear ‘wishes to be the object- the preferred and even…

A

…the soul recipient of his child’s love. Plays central concern is Lear’s selfishness

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25
Q

Machiavelli.

For one can say this generally of men: that they are ingratdful, fickle…

A

…pretenders and dissemblers, evaders of the danger, eager for gain. While you do them good, they are yours

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26
Q

Burto.

In this play, love humanises as surely…

A

….as egoism dehumanises

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27
Q

Burto.

If the play dramatises mans desolation, it also dramatises the love that, whilst…

A

…providing no protection against pain or death, makes mans life different from the life of a dog, a horse or a rat

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28
Q

Campbell.

Walking clear-eyed into the stormy night and his probable death…

A

….on the Heath, he comes as close as any fool does to the heroic

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29
Q

Campbell.

He is the supremely wise fool who expressed in his heartfelt…

A

…devotion to Cordelia and his kind the Christian virtues of patience, humanity and love

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30
Q

Kierman.

Argues that Shakespeare’s concern was for the poor whose…

A

…toil and suffering pays for the pleasures and follies of the rich

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31
Q

Kierman.

Shakespeare works on our imagination, keeping the poor an invisible…

A

…but compelling presence… Shakespeare leaves us to hope that someday the masses will stand up for themselves

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32
Q

Dussinberre.

Shakespeare saw men and women as equal…

A

…in a world that declared them as unequal

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33
Q

Dusinberre.

He did not divide human nature into the…

A

…masculine and feminine. ‘He refused to separate their worlds physically, intellectually and spiritually

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34
Q

Lever.

The fundamental flaw is the…

A

…world they inhabit: in the political state, the social order it upholds

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35
Q

Lever.

In Jacobean tragedy it is not primarily the conduct of the individual…

A

…but the society which assails him, that stands condemned

36
Q

A.c.bradley.

Argues that king lear ends with ‘a sense of law and beauty…

A

…a consciousness of greatness in pain, and of solemnity in the mystery we cannot fathom

37
Q

Steiner.

There is in the final moments of great tragedy…a fusion of grief and joy…

A

…of lament over the fall of man and of rejoicing in the resurrection of his spirit

38
Q

Hunter.

It not only strips and reduces and assaults human dignity, but because it also shows…

A

…with the greatest force and detail the process of restoration by which humanity can recover degradation

39
Q

Johnson.

Trying to please the audience…

A

…for which he wrote

40
Q

Johnson.

Villainy is never at a stop, that crimes…

A

…lead to crimes and at last terminate to ruin

41
Q

Johnson.

Just a representation of the…

A

…common events of human life

42
Q

Johnson.

It is disputed whether the predominant image in Lear’s disordered mind be…

A

…the loss of his kingdom or the cruelty of his daughters

43
Q

Johnson.

Did we not rather consider the…

A

…injured father than the degrading king

44
Q

Dollimore.

Tragedies display ‘a kind of intellectual vandalism’ because they…

A

…expose the injustices and inequalities of society. Questions the beliefs and structures which maintain those unfair practices- social reality

45
Q

Cedric watts.

Through suffering, people who were once right and powerful…

A

….may come to appreciate the needs of the poor and humble, and advocate charitable provision

46
Q

Watts.

Both stories show a noble figure…

A

…being reduced to a hapless dependence on others

47
Q

Watts.

Some of the most remarkable breaches of realism…

A

…occur when the fool jokes at the expense of the audience in the theatre

48
Q

Watts.

The prevailingly grim atmosphere of king Lear makes…

A

…the fools banter with the audience oddly discordant

49
Q

Duthie.

God overthrows the absolutely evil- he destroys…

A

…the Cornwalls, the gonerils, the regans: he is just

50
Q

Duthie.

God chastens those who err but who can be regenerated…

A

…the Lear’s, the gloucesters- and in mercy he redeems them: he is just and merciful

51
Q

Duthie.

He deals strange with the Cordelias…

A

…of this world. His methods are inscrutable

52
Q

Watts.

The dramatic questioning of nature, morality…

A

….reason and order, and in its eloquent voicing of a gamut of human emotions

53
Q

Watts.

There was no precedent for the harrowing bleakness, the ruthless…

A

…ironies and the harsh accidentality of the conclusion

54
Q

Watts.

King Lear reminds us of the human…

A

…capacity for hatred, cruelty and injustice

55
Q

Watts.

It also reminds us of…

A

…the human capacity for love and forgiveness

56
Q

Watts.

The notion that there’s one law for….

A

…the rich and the harsher law for the poor: money masks corruption

57
Q

Ian mckellen.

Bullying daughters, ‘perhaps explains why the two…

A

…elder daughters have the characters they do

58
Q

S.r.b.

Throwing tables over- emphasises rage and madness. They don’t get the chance…

A

…that’s what makes it so unbelievably devastating

59
Q

Sam mendes.

Lear kills fool-beats him death…

A

…in this world his death is ‘not significant

60
Q

Peter Brooke- Kenneth tynan.

Black and white- the play is a…

A

…mighty philosophical farce

61
Q

Kenneth Tynan.

Resembles at the end a desert graveyard or unpeopled plant…

A

…it is an ungoverned world…a world without gods, with no possibility of hopeful resolution

62
Q

S.r.b he starts the play with…

A

…a catastrophic, criminal mistake

63
Q

S.r.b a man who has been in absolute power…

A

…far too long for his own sanity

64
Q

S.r.b.

It is not irreparable, his relationship with Cordelia. What is…

A

…irreparable is giving the kingdom away

65
Q

S.r.b.

Fractured and damaged relationship…

A

…that needs time, and they’re not given time. I think that’s devastating

66
Q

S.r.b.

World so grotesquely distorted by time the fool disappears…

A

…‘horrible world of violence, grief and anger

67
Q

Tom brook-Edgar

The atmosphere is one of…

A

…suspicion and paranoia

68
Q

Stephen boxer.-g

The first half is his fall from grace. It’s about a political state…

A

….and a familial state and how they intertwine and fall apart

69
Q

Ian mckellen.

The audience should look at his relationship with the gods to understand his progression. ‘He goes on a…

A

…torturous and terrifying emotional journey

70
Q

Ian mckellen.

By the end he’s achieved some reconciliation to his own position in the real world and that..

A

…included love for family, respect and regard for friends and that has by the end, nothing to do with the gods

71
Q

Kate fleetwood-gon

I felt that she was…

A

…a neglected child

72
Q

Olivia vinall-c

She wants to assert herself as…

A

…a woman, which she is about to become

73
Q

Kermode.

So concerns himself with the 2 bodies of the King, one lives by ceremony…

A

….administers justice in a furred gown. ‘The other is born naked, subject to disease and pain. Lear is stripped

74
Q

Freud.

Man is a savage beast to whom…

A

…consideration to his own kind is something alien

75
Q

D.j. Enright

The principal characters are…

A

…not those who act but those who suffer

76
Q

Mcluskie

Women are made either to submit-Cordelia….

A

…or to be destroyed- g and r

77
Q

Mcluskie

Family relations in this play are seen as fixed and determined…

A

…and any movement within them is portrayed as a destructive reversal of the natural order

78
Q

Holbrook

Boisterous, demanding, arrogant…

A

…he expects absolute obedience

79
Q

Holbrook

He has clung steadfastedly to the conviction that….

A

…he is a loving father

80
Q

Holbrook

The paranoia of age…

A

…is stalking him

81
Q

Holbrook

The coils of evil spread and…

A

…fester in the subplot of the play

82
Q

Mcluskie

Cordelias return is a…

A

…restoration of patriarchy

83
Q

Noble.

The dynamics of the play…

A

…emanate from damaged families

84
Q

Jan Kott.

King Lear is about…

A

…the degradation of the world

85
Q

John Knox.

Women-inconstant, variable, cruel. Weak…

A

…frail, impatient, feeble and foolish

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