In that sort of mental state, can his tears be such reliable indicators of his surrender to feminine emotions? Or could they simply be signs of his regret, to be followed by his surrender to insanity? I really enjoyed the way you took in Kahn's point of view and especially how you interpret his tears in the end. I didn't really take in the fact that he was in the midst of his madness as much as I had hoped he was truly learning. Your entry leaves me to think more beyond my own and I appreciate your writing. I enjoyed your take on Coppelia Kahn's assessment.
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Post a comment. Synopsis of essay. When Lear describes his pain and sorrow as hysterical, he is making it feminine. From ancient times, many suffering women were said to be suffering from hysteria. There are no mothers in King Lear, and in the opening scene of the play, we just see the fathers their powerful influence over their children.
When Lear feels the loss of cordelia, and when he feels vulnerable and wounded by his daughters, by calling his sorrow hysterical, he is showing repressed identification with the mother. The opening scene: can be seen as a variation of a wedding ceremony- the bond between Cordelia and Lear is simultaneously emphasised and broken. The way Lear tries to keep his hold on Cordelia whilst publicly handing her to a husband suggests lear has a frustrated incestuous desire for his daughter.
Alternatively, it can be viewed that Cordelia is desired by Lear as a mother. A daughter-mother. Lear and his daughters are compared to pelicans and their young. Lear is enraged that he is not nurtured by those who he, pelican-like, has nurtured. Both lear and Gloucester have a deep sense of identification with their children being born of their own flesh.
Lear ignores the role of the woman in creating children, and insists his daughters are only his through the pelican image he takes on the maternal function.
Lear implies through misogynistic ideologies that his daughters are evil because women are tainted by their sexual capacities. Lear makes generational demands in the opening scene, as well as gender demands. This is complicated by his gender demands of maternal care. Regan and Goneril shame Lear by bringing out the woman in him, causing Lear anger. Cordelia is depicted as being so good and pure when she reenters the play that she becomes the daughter-mother Lear intended.
Lear, Kent and Edgar are reluctant to be recognised by those love them most. When Lear wakes to see Cordelia, he cries tears of ashamed self knowledge, and here he becomes closer than ever to mature acceptance of his dependancy. Lear does not want to meet Goneril and Regan because this would mean abandoning his fantasy that one good woman like Cordelia can triumph over evil. Quotations to consider. To what extent is this true? Do Gloucester and Lear have such a powerful role over their children?
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During the beginning of King Lear , there is a love test in which Lear attempts to divide his kingdom among his three daughters by the amount of praise that they display towards him. Both Goneril and Regan utter similar words declaring their love for their father, even though it is evident that King Lear does not carry as much affection towards the pair as he does towards Cordelia. Obviously by the end of the play, we learn that Goneril and Regan are not innocent by any means. Filed under Uncategorized. You are commenting using your WordPress.
In separating male and female roles into distinct categories, and subsequently determining those assigned to women as less important, sexism and patriarchy are allowed to play pervasive roles in society. Filed under Uncategorized. Both may be worth looking at if you expand these points for a longer paper. What do you make of the fact that the two most celebrated works have a similar psychological structure at their center? There is also an interesting question at the center of your post regarding what psychoanalysis is capable of analyzing: individuals, certainly, but what about fictional characters?
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