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King Lear Is Man No More Than This? In literary works, critics often argue various points of view. Such is true in the tragic play King Lear written by Shakespeare. W.
F. Blissett looks at the role of recognition in the play, and considers the difference, in that respect, between the main plot and the subplot. The second critic states that the play contains questions that are greater than the answers, and that, because the imbalance of life mirrors that, man is always insecure. Even though I agree with the second critics commentary, I feel that the true spirit of King Lear is portrayed most accurately in W.
F. Blissett's commentary, Recognition in King Lear. Is Man No More Than This? looks at the play in a broad sense and states that questions presented in the play mirror questions that we face in real life, and since the questions are greater than the answers man is always insecure. He makes a good point in saying that if Lear had left the stage enlightened and rational, and the big question fully [and] unmistakably answered then the play would have seemed of an inferior sort.
Another key statement made is that although Lear is learning much along the way, his progress his not acknowledged by himself. True, Lear makes statements like I am a very foolish fond old man, and I am a man/More send against than sinning, but he never states in one speech all that he has learned. Because of that, the audience is truly left wondering if man, or life for that matter, is nothing more than betrayal suffering and death. Recognition in King Lear, written by W. F. Blissett, takes a look at the role of recognition in the tragic play King Lear.
Blissett makes several important statements to support his viewpoint. One being that The division of the kingdom, the rejection of Cordelia, the banishment of Kent what have might filled the opening third of a play are dispatched in a single scene. The entire remainder of the play, as it concerns Lear, is discovery, recognition of what he has done, and beyond that, who he is. Although I agree with the critics views in Is Man No More Than This? , I identify and agree with Recognition in King Lear to a greater extent. What W.
F. Blissett has done, is look at the progress of recognition in the play by going through the play and analyzing key scenes and occurrences. He also states the differences, with respect to recognition, between the plot and the subplot. Blissett states that although Lear wanders across the kingdom cursing, throwing fits of rage, and dispensing spurious justice, he is just repeating his initial error. In fact, the only action is the unlearning of a lifetime of self-conceit and delusion. If you look at Lears actions, you will find that this is true.
Most of his actions revolve around his tragic flaw of excessive hubris and his desire to regain his kingdom by the same ways that he lost it. The first time that we see any change in Lears actions is when he is speaking to Edgar, who is disguised as Tom o Bedlam. He says Come on, my boy. How dost my boy? Art cold?
This is the first time that Lear has shown compassion or caring for any person other than himself. The recognition for Gloucester begins in the center of the play, when he learns of Edmunds betrayal and his eyes are plucked out. From there on out he descends into despair and hopes for reconciliation. This is one place that Shakespeare uses the imagery of the mythical wheel, in the time-honored image of orderly reversal. This imagery is also used with Lear when he says that I am bound/Upon a wheel of fire, that mine own tears/Do scald like molten lead. Although similar, this is referring to a different wheel according to Blissett.
Instead of a wheel that is turning, as Gloucester experiences, Lear is referring to a wheel that stretches. Although inflicting much pain, it stretches Lear to the measure of a man. I agree with this because without the pain and suffering that Lear was forced to go through, he would have remained the uncaring authoritative king that he always had been. Even if someone was telling him all along that he was making the mistake. The Fool is a crucial character in the play because of the fact that he can speak the truth to Lear and get away with it. The Fool talks of things which he has never possessed such as power and wealth, but always proves his folly by attaching himself to Lear, who has begun the process of divestment of worldly goods.
While Lear is being blinded by his excessive hubris, the Fool can see clearly what is going on around him. Lear is stung to understanding by such a barb as thou hast parted thy wit o both sides, and left nothing i th middle. ' Despite the Fools inferior ranking he is the only one who is able to tell Lear that what he has done is ridiculous. Kent, one of Lears closest friends, received banishment for such an effort. The Fool causes Lear to question himself, and Lear makes statements that lead him to recognition. Does any here know me? This is not Lear: /Does Lear walk thus?
Who is it that can tell me who I am? This quote begins with Lears display of irritation, and ends with the crucial question of the play. Of course, the Fool has an answer to this question with his reply Lears shadow. This is actually wiser than the original question according to Blissett because of the fact that Lear is in the shadow of royal greatness.
What the fool actually meant was that in order for Lear to discover who he really was, he would have to look at his un accommodated self. Another important aspect that leads to Lears recognition is the storm as a motif for understanding. According to Blissett, recognition comes at certain times during the storm. Specifically, during claps of thunder and sheets of rain. The outer plot along with Lears movements are directionless except in the direction of greater intensity. Although Lear is gaining recognition, the original act of un recognition is repeated and made worse.
In the scene on the heath, the storm motif is the same. In this scene, Lear makes an act of charity toward Poor naked wretches and adds to it a specific confession that he had been grievously at fault: I have taen /Too little care of this. ' Lear realizes the power of the gods when he sees poor Tom. He has never before recognized the implications that they can inflict. In the last storm scene, with the advance and regression, reason and madness, recognition and renewed acts of un recognition, Lear comes to realize that he really is mad with the aid of the Fool. The Fool said Price, Nuncle, tell me whether a madman be a gentleman or a yeoman? A King, a King!
Lears knowledge that he is mad sets him free, but yet he is held captive due to the recognition that he has given in. At the end of the fourth act, there is an occurrence of a new phase of Lears recognition. Here he reconciles with Cordelia, and achieves an emptying of self. What this means is simply that Lear has been living on the hopes of a reconciliation with Cordelia, and now that that has occurred, he is ready for death. Blissett states that recognition in drama typically comes to focus in the discovery of a persons identity. In order for Lear to find his true self, he must make every mistake that he could possibly make, but after he finds Cordelia, it all seems to come to him quite quickly.
He then doesnt care about his kingdom or his mental condition, and after she is hanged, he dies of grief. It is almost like his true self was in Cordelia and when she died, he died along with it. Through the years, many critics have written commentaries about King Lear. Although some make very valid statements, others, such as W. F. Blissett's Recognition in King Lear hit the nail on the head in discovering just how King Lear loved, lived and lost. 319
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