Critics Flashcards Preview

KL > Critics > Flashcards

Flashcards in Critics Deck (49):
0

Critics on Edmund

Charles Beauclerk, Race Capet, Nancy Maguire

1

What does Beauclerk say about Edmund?

Edmund is essentially an actor, who uses language of the old order - language of pity and responsibility ... For his own political ambitions

2

What does Capet argue about Edmund?

Far from being a villain, the self-proclaimed devotee of nature functions, amid the collapse of social order ... as the emissary of nature

3

What does Maguire argue about Edmund's final lines?

His attempt to redeem his lonely self is a gesture which conveys his suffering as an individual ... We can now pardon his impulse to acquire in order to protect himself.

4

Feminist critics

Kathleen McLuskie and Marilyn French

5

What is McLuskie's argument?

Goneril and Regan are presented as demons, monsters, anything but human ... Women in power can only bring disgrace.

6

Marilyn French quote

[when women attempt to behave like men]: 'it topples the natural order and plunges the world into chaos

7

Which critics offer nihilistic readings?

Algernon Swinburne and Jan Kott

8

What is Swinburne's quote?

The doctrine of Shakespeare ... Is darker in its implication of injustice, it's acceptance of accident. ... Righteousness itself seems subject and subordinate to the masterdom of fate

9

Critics on family

Charley Hanly and Coppelia Kahn

10

Coppelia Kahn quote

Lear's madness is essentially his rage at being deprived of the maternal presence/Lear has habitually suppressed any needs for love

11

Which critics comment on the role of the Fool?

Marjorie Garber and Harold Bloom

12

What is Garber's quote?

The fool is a mirror ... Reflecting back at Lear his own concealed image

13

Critics on madness

Adrian Ingham, Josephine W Bennett, Charley Hanly

14

What points does Hanly make?

Madness is used as a device to strip away the illusory aspects of royalty

15

What does Adrian Ingham believe is the most accurate description of Lear's madness?

Unnatural melancholy, as outlined by Timothie Bright

16

Unnatural melancholy quote

'The heavy hand of God upon the afflicted conscience, tormented by remorse of sin'

17

Critics on Gloucester's blinding

L.C. Knight, S.L. Goldberg, A.M. Colman

18

What does L.C. Knight say?

The gouging out of Gloucester's eyes is a thing unnecessary, crude, and disgusting ... It helps to provide an accompanying exaggeration of one element - that of cruelty - in the horror that makes Lear's madness

19

What does A.M Colman claim?

In such a world, where gods are absent ... Gloucester's suffering and subsequent despair must inspire pity

20

S.L Goldberg

The sheer fact of Gloucester's blinding, and our sheer horrified rejection of it as unendurable ... Stand at the very centre of the play

21

What does Anna Hermesmann argue?

Shakespeare emphasises the absence of justice in order to highlight the necessity of Christian values

21

Hermesmann quote

There is no just force to establish objective morality

22

A.C Bradley quote

The business of the gods... Was not to torment him...but lead him to attain ... The very end and aim of life

23

Frank kermode

Shakespeare concerns himself with the contrast between the two bodies of the king; one lives by ceremony, administering justice in distinguished regalia which set him above nature ... The other is born naked, subject to disease and pain.

24

G. Wilson knight quote (Gloucester's suicide)

The grotesque merged into the ridiculous reaches its consummation in this bathos of tragedy

25

Timothie Bright

The heavy hand of God upon the afflicted conscience, tormented by remorse of sin

26

Howard Furness

So carelessly hurried over that it comes to nothing... By its own unimpressiveness makes insignificant everything that has reference to it

27

Charles Hanly on madness

Lear's madness is a device for stripping away the narcissistic illusory aspects of royalty

28

Hanley on Lear's demand

Nothing could be more threatening to a daughter than the demand
Lear makes ... Goneril and Regan ... are confronted by a father whose love for them is eroticised

29

Jan Kott

There is nothing, except the cruel earth where man goes on his journey from cradle to grave

30

G.B Harrison

Shakespeare effected a grim irony by the use of two words which sound throughout the play like the tolling of a knell: 'nature' and 'nothing'.

31

Doctor Johnson on cordelia's death

Contrary to the natural ideals of justice

32

Doctor Johnson on Lear's pain

Lear would move our compassion but little, did we not rather consider the injured father than the degraded King

33

Swinburne quote

The doctrine of Shakespeare is darker in its implication of injustice, it's acceptance of accident ... Righteousness itself is subject and subordinate to the masterdom of fate

34

S.L. Bethell

Lear, after being bound upon a fiery wheel, attaining patience and humility, is fit for heaven

35

Beauclerk on compassion

This new language of compassion proclaims a new social order founded on the politics of love

36

Kenneth Muir quote

'The gods are indifferent, or hostile ... there is no afterlife in which the injustices of life on Earth may be set right.'

37

William Hazlitt

'Giddy anarchy'

38

Which critic saw Cordelia as a symbol of Christ?

SL Bethell

39

G Wilson Knight quote

Mankind is ... Deliberately or comically tormented by the gods

40

Jonathan Dollimore

Albany and Edgar vainly try to rebuild society in the same flawed pattern - Shakespeare questions it's 'faulty ideological structure'

41

Dr Heilman

Nature as a vital force, versus nature as ordained order - salvation versus damnation. Natural as moral.

42

Charles Hanly Quote about G+R

If Edmund was driven by jealous rage against his brother ... can less be said of Goneril and Regan?

43

Kenneth muir (nature)

The animal imagery is designed partly to show mans place on the chain of being, and to bring out the subhuman nature of the evil characters

44

Alexander Leggatt

The double was of nature ... Destructive on the one hand, beneficent on the other

45

Thomas McFarland

Grievously contrary to primogeniture and the cosmic order

46

Catherine S Cox

Archetypes of virago and Virgo

47

Harold bloom

Fool bridges gap between audience and play; chorus function