The Three Forms of Madness in King Lear - Literature Essay Samples

This essay concentrates on Act 111, Scene 4 of Shakespeares King Lear, a tragic and powerful scene in which we witness Lears mind tragically giving way to the menace of madness, which has relentlessly pursued him throughout the play. However, the character of Lear only portrays one of the three forms of madness represented in the scene he may be the only character who is truly mad, but there is also the feigned madness of Poor Tom, and the professional madness of the Fool. These varying forms of madness are all represented in different ways via varying styles and forms of language, imagery, movement and verbal styles.By the time that this scene takes place, Lear has been reduced from being a powerful and respected monarch with hundreds of followers, to being a lonely, rejected man, cast out of his own kingdom, his family, and all his fortune and wealth. He has been shut out in the night to wander the earth, accompanied by the only subjects whom remain loyal  ­ his Fool, and the Ea rl of Kent, who is disguised as Caius. The Fool and Kent have joined together in the scene to support the king, both physically and mentally.That Lear finds himself here is a mixture of the results of his own folly, and the cruelty that he suffers by the hands of his own flesh and blood. In the first scene of the play, Lear makes a series of mistakes, which ultimately prove fatal for the king. Firstly, he misguidedly casts off Cordelia, his only loyal daughter, then he proceeds to divide his kingdom between the two remaining pelican daughters (111.4.72), leaving himself with nothing but trust in his daughters love for him. However, as their title here suggests, his two daughters betray their doting fathers trust by seizing all power from him and uniting to place him in the wretched situation he now finds himself in.Even though Lear has been reduced to so little, his voice still remains the commanding one. He retains the language of the central figure, the hero of the play. He specia lises in hyperbole, inciting the stars at every given opportunity, including here, when he is cast out from his family and he commands the stars to cast down their diseases upon those that have caused him pain:Now all the plagues that in the pendulous air Hang fated oer mens faults light on thy daughters! (111.4.64-5)He conducts trials, ordering the wholly unqualified, but in Lears demented eyes, most learned justicer (111.6.21), Poor Tom, to be judge at the make-believe trial of Regan and Gonerill, he gives sermons, and he prays.Lears prayer in Act 111, Scene 4, shows him gaining his last firm foothold before his fall into the abyss of madness. As Danby claims, Lear has already learned humility and patience now he learns charity, (Danby 1948, p. 186) and also repentance of his  ³pomp ² (111.4. 33); Lear is oblivious to the physical damage such a tempest causes him, informing Kent that This tempest in my mind / Doth from my senses takes all feeling else / Save what beats there. (111.4.13-15), and so rather he prays for those others who are at the mercy of the gods and the storm. When he refers to himself, it is not to pray for his salvation, but to rebuke himself for the way he has lived his life, and to command himself to take physic, pomp (111.4.33) to become morally healthy by rejecting his old ways.When Lear prays, he is on a thin line between madness and sanity. A.C. Bradley questions, whether or not, had the king been allowed to sleep, as is his intention before the prayer, he would have actually made a return to health, as he does in Act 1V, Scene 7 (Bradley, 1948,287). As it is, this sleep and possible recovery is prevented by the arrival of Poor Tom, who bursts angrily into the scene, complete with curses and outbursts that team with his ghastly appearance to provide the catalyst that finally pushes Lear over the brink into madness.The sights and sounds of demented Poor Tom have an immediate effect on the king, sending him into a madness that is all the more tragic because of the contrast between himself only moments before, when he seems almost lucid, and his now wholly demented persona. Now he utters the first words of a truly mad king. His fall into madness is portrayed by the question, Didst thou give all to thy daughters? And art thou/ come to this? (111.4.47-48). His question sounds almost hopeful  ­ has he now found someone who is in the same plight as himself? Is he no longer alone in his suffering? The king cannot conceive that any thing or event could cause such pain and destitution as that which Poor Tom seems to suffer from, than ones own flesh and blood, ones daughters. He clutches to his idea and repeats it again and again (111.4.60-61, 64-69), refusing to listen to the futile voice of sanity and reason which manifests itself in the figure of Kent, who remains patient with the king throughout.The reason for Toms potent effect on the King is that the king has immediately identified with his pitiful situation . Lear has been cut off from his family, both because of his own folly in giving away his entire kingdom, and because of the treachery and deceitfulness of the two former daughters. He sees himself and his daughters as part of one body, a body that Regan and Gonerill have mutilated:Is it not as this mouth should tear this handFor lifting food tot? (111.4.16 -17)As he identified himself with his daughters, now that he has been cut (or bitten) off, he is lost  ­ he is desperate for someone to identify with, and in the meantime he flees from the madness that at every turn threatens to take hold of him, as he cries O, that way madness lies; let me shun that; / No more of that (111.4. 21 ­22). Tom, in the image of complete and utter human destitution, provides that someone that Lear is looking for.Lear, in his madness, has gained as well as lost. He does lose his dignity, identity, all the power and respect he was so used to commanding with Lear existing in a world where the ruler o f a country is, in authority, equal almost to God, his imperialism knew no bounds and was never questioned or resisted. Now his perception of reality has been completely overturned. But, as a result of this overturning, he has gained knowledge that he never possessed in sanity, learning truths that he could never before conceive. His way of thinking has been reversed he is no longer concerned with status or politics, as they are irrelevant to his new reality. He now sees past all the false flattery of his daughters and those around him, all the supposedly loyal servants, whom so readily deserted him, just like ants who have learned that theres no labouring ithe winter (11.4.66). He emerges slowly from the political world that he was so immersed in, and begins to see the importance of individual human life versus status, and as Danby argues, morality versus politics (Danby, 1948, p. 171) He is now in a world where the quality (11.4.91) of individual personality is what matters, and position has lost its meaning. Therefore, for Lear, Poor Tom provides an image of man exactly as he should be  ­ naked against the world, not cloaked in lies and falseness, with no protection against the elements and facing life exactly as he is:Thou owest the Worm no silk, the beast no hide, the sheep no wool, the Cat no perfume. Ha! Heres three ons are sophisticated. Thou art the thing itself! Unacommodated man is no More but such a poor, bare, forked animal as thou art. (111.4.100-104)Lear sees the beggar therefore as a learned Theban (111.4.150), someone who knows the secrets of life and nature better than he, and so Lear begins to question him, What is the cause of thunder? (111.4.147). Lear goes on a quest to share in his new mentors knowledge of the world, hence the tearing off of his clothes in an attempt to emulate him (111.4.105).Edgar has invented a persona to fit what was, in Shakespeares time, the stereotypical image of madness and despair. He incess antly talks of the foul fiend (111.4.44), the devil that supposedly haunted the maddened; he claims to have received the traditional Devil-given gifts of knives, halters and ratsbane (111.4.52-53); he claims to see the devil Flibberdigibbet when Gloucester enters, an accusation which perhaps reflects the rejected Edgars feelings towards his father at this point in the play. Also, he defends himself against Gloucesters derisory remark about the low caliber of his company (111.4.135) by replying that he is attended by no less than Modo and Mahu (111.4.136-7), grand commanders of legions of devils. He goes to great lengths to present a complex, cohesive and convincing image of himself and his existance, with his wild images of pursuing devils and his long-winded speech describing his past life, when there was little need to go to such lengths  ­ Lear is immediately taken in by his act, and the other characters are so busy being concerned with other events and troubles that they have little inclination to take heed of this mad vagrants rambling stories.Poor Toms physical appearance on stage would certainly convey the look of a poor beggar in utter destitution  ­ he is almost naked (111.4.62-3), and his physical wounds are indicated by Lears words, is it the fashion that discarded fathers/Should have thus little mercy on their flesh? referring, presumably, both to his nakedness and the wounds or scratches he has received as the result of this lack of protective clothing. However, despite this verbal and physical appearance, Poor Tom, in his madness, does not appear as tragic as Lear, for many reasons, the most obvious of which being that the audience knows it to be an act put on by the disguised Edgar. The audience feels pity only for Edgar, not for his manifestation of the Bedlam beggar (11.3.14). Also, a touch of humour in Poor Tom undermines his tragic circumstances  ­ for example, his imitation of a sailor navigating the deep, dark depths of the hovel his imaginary ship sails through. The cry of Fathom and half, fathom and half! (111.4.37), is not the cry of a soul in deepest torment from the foul fiend (111.4.43). Indeed, he seems to have an odd amount of energy for one so destitute.The Fool is another character who represents yet another form of madness  ­ professional madness. The Fool spends his life singing songs, riddles and rhymes ostensibly to entertain the king  ­ and in comparing the linguistic styles of the king and his sidekick Fool, we see how different the two characters positions are. While the King, so used to total authority, bellows at the stars, commanding them to do his bidding, the Fool whispers little ditties into his ear, speaking only to the person, not to the universe, which he rightfully comprehends, is out of his control. But the king would have done better to listen to this lowly Fool from the onset, for beneath the veil of nonsense, there lies an ocean of common sense. When the king rejects Cordelia , the Fool attempts to bombard Lear with this common sense in the only way his station in life allows him to  ­ through rhyme and riddle:There, take my coxcomb! Why, this Fellow has banished two ons daughters, and did the Third a blessing against his will. If thou follow him, thou Must needs wear my coxcomb. How now, nuncle! Would I have two coxcombs and two daughters! (1.4.99-105)Through looking carefully at the true meaning of his nonsense, we can see that the Fool is not mad he is in fact perhaps more sane than Lear ever was. He is yet another character in disguise, in a play filled with disguises. He constantly ironises the king, subtly mocking his actions and remarks with his comments, such as his sarcastic remark, Nay, he reserved a blanket; else we had been all / shamed (111.4.62-3), in reply to one of Lears confused questions. However, in this scene when the king loses his mind, we see the Fool slowly beginning to realise his impotence  ­ the king never before listened to his comments and advice, and he now lacks not just the inclination, but the ability to comprehend what he is being told, whether it be disguised as humour or not. The Fools realisation of the predicament the company is in is shown in his comment This cold night will turn us all to fools and mad- / men (111.4.75-6). Edgar has taken over the role of the Fool, the King is mad, and the Fool has become the balanced observer. The Fool remains loyal until he realises he can no longer fulfill any sort of purpose  ­ the king has gone mad, and no longer hears him. The only fool he will listen to is Poor Tom, and so the Fool takes his leave from the dialogue at the end of Act 111 Scene 6, with the words and Ill go to bed at noon (111.6.83)Kents patience and calm serves to highlight the madness all around him, whether it is the true madness of the king, Edgars feigned madness, or the professional madness of the Fool. He entreats his King to enter shelter a total of four times, never giving up on a man who did not listen to his sensibility at the beginning of the play, when he defends Cordelia, and even if he wished, he lacks the ability to listen now. Nevertheless, Kent stays with his master, sacrificing his own health to remain out in the metaphorical and physical storm with the king whom earlier ordered his banishment. Kent constantly tries to bring Lear back to reality, interjecting his outbursts with doses of sanity, such as when he tries to explain that Tom hath no daughters, sir (111.4.66). Unlike the Fool, whom soon realises the futility of efforts to communicate with the King and gives up, exiting the dialogue with the words And Ill go to bed at noon (111.6.83), Kent persists, and remains with the king until the very end of the play.Thus we can see that the three cases of madness which are portrayed in this scene all draw upon varying theatrical means to represent their different forms. Different styles of speech are used by each character, with Lears overst ating and the Fools realist comments on society, different aural effects and images portraying various outlooks on life, whether it be Toms vision of Hell, or Lears images of the heavens and their avenging stars (111.4.65). Through these contrasting styles of the characters in this scene, we witness the sanity of the professional madman, the comic Fool, and see how little the playacted madness of Poor Tom compares to the true and tragic pain endured by the tortured King Lear.

How Communication Skills Can Be Developed By Listening And...

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How Morals Are Thrown Around Through The Actions And...

Andrew Robb In the tragedy â€Å"Antigone† many ideas of morals are tossed around through the actions and speeches of the characters Creon and Antigone. Though these morals seem logical at first, it can later be seen that these two characters represent an over fixation on singular ideas, or morals, of life when it is taken to the extreme. This close mindedness ultimately leads to these character’s downfalls with Creon revealing that his moral extreme is the â€Å"political sphere† of life and Antigone, the â€Å"private sphere† holds the truth. She wants to bury her brother, Polynices (Galens). A proper burial for those killed in battle was essential for the Ancient Greeks (Fletcher). To give Polynices his proper burial, she infringes upon her Uncle Creon s laws that specifically forbid her from burying Polynices as he was an enemy of the people. She wishes to follow and interpret the traditions and rituals the divine gods expect, and hence clashes with Cr eon s governmental status. Through focusing their entire lives to these causes and desires, they have damned themselves to their own demise by being so close-minded of the world around them. Creon is a fatigued, wrinkled man enduring the weights of leadership and has now surrendered himself altogether to the throne. Unlike Antigone, he has totally ceded his wishes to take upon the mantle of administration. As he tells Antigone, his only interest is in political and social order. This obsession with the state and civil order causes himShow MoreRelatedtheme of alienation n no where man by kamala markandeya23279 Words   |  94 Pagesï » ¿ANTIGONE KEY LITERARY ELEMENTS SETTING This tragedy is set against the background of the Oedipus legend. It illustrates how the curse on the House of Labdacus (who is the grandson of Cadmus, founder of Thebes, and the father of Laius, whose son is Oedipus) brought about the deaths of Oedipus and his wife-mother, Jocasta, as well as the double fratricide of Eteocles and Polynices. Furthermore, Antigone dies after defying King Creon. The play is set in Thebes, a powerful city-state north of

The Nature Of Military Power - 2256 Words

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mistaken identities and misunderstanding within twelfth night

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In Jesus’ Name Taking Up Serpents Free Essays

â€Å"Happy shall he be, that taketh and dasheth thy little ones against the stones. † (Psalm 137:9)Read more at /list/top-20-bible-passages-to-use-against-fundamentalists/ivana-wynn? page=3#X63UZMIZkY7ETEaQ. 99 â€Å"Happy shall he be, that taketh and dasheth thy little ones against the stones. We will write a custom essay sample on In Jesus’ Name: Taking Up Serpents or any similar topic only for you Order Now † (Psalm 137:9)Read more at /list/top-20-bible-passages-to-use-against-fundamentalists/ivana-wynn? page=3#X63UZMIZkY7ETEaQ. 99 Megan Gowler Cultural Anthropology MWF 10 a. m. IN JESUS’ NAME: TAKING UP SERPENTS I’ve took cocaine, I’ve smoked marijuana, drunk whiskey, and been high on all that, but this high you get on Jesus, it’s nothin’, nothin’ compared to that†¦ † The video was filmed in two churches in Alabama and Georgia in what looks like the 60’s, but in reality was the late 80’s or very early 90’s, I believe the copyright date is 1991. In Jesus’ Name: Taking Up Serpents heavily documents the practice of snake handling in this religious sect, but mentions the consumption of strychnine very minimally. The people seem happy, but not particularly affluent. They are presumably in the Appalachian region of the states, where coal mining, poverty and a hard life are all too common. The whole thing is presented without commentary or criticism allowing the viewer to experience the culture and apply their own opinions. Taking Up Serpents shows us how literal interpretations of biblical texts are executed with fervor in the name of God. The filmmakers do not appear biased or like they have any hidden agenda. It seems to be a straight-forward documentation of a church service. The filmmakers did not go out of their way to make these people seem simple or poor, which I am sure would have been easy to do with selective editing. Men are featured prominently in this video. They seem to be ‘called upon by the holy ghost’ to ‘take up serpents’ more readily than the women are. The women are not left untouched by the ‘spirit’ as was made obvious by the shaking, sobbing and speaking in tongues that is also demonstrated in the video. The women who do handle the snakes seemed to do so for a much shorter length of time and with greater caution then the men, who shake them and rub them around their faces and necks, almost as a challenge to the snake. Children are not permitted to handle any of the snakes in these churches. I found out online that usually (and for legal reasons) you must be 18 to begin taking part in this part of the ritual. Apparently, the Holy Spirit discriminates by not just gender, but age as well. They do not go into any detail regarding the consumption of strychnine in this video, it only gets a brief mention and is hardly shown. Interestingly, when you look at the side effects of the consumption of strychnine, one of the less grievous effects is euphoria. Also, it should be noted that it acts as a stimulant and can cause muscle spasms and convulsions, which are exacerbated by bright light and loud noises (I assume that includes raucous religious music and bright overhead lights). I wonder why they have chosen that verse specifically to focus all their energy on. Why aren’t they burning male flock animals (sheep, goats) on altars in their yard or beating their children for self satisfaction (Leviticus 1:9 and Psalm 137:9, respectively). Why snake handling and poison consumption, I have a theory, but I will save it for now. Everything about this practice is bizarre, but is it only bizarre because of our distance from it? Religious ceremonies of EVERY nature have incredibly odd practices, but they only seem bizarre to outsiders. The whole video made me sad, but I can’t say exactly why. The filmmakers intention was to document the practice and according to the note on Youtube, help preserve their right to practice their religion, their way. I don’t know how to explain how I feel without writing another 5 pages. Religion and religious freedom is and always has been a minefield of controversy. Islam has the prophet Mohammed who took a six year old bride when he was in his late 50’s, Christianity has a virgin birth and coming back to life (insert inappropriate zombie Jesus joke here), Scientology teaches us that we are all immortal aliens trapped in physical bodies, dinosaurs are a hoax put forth by Satan to fool us all, Mormons are in their ‘magic underwear’ prepping for the return on God in Missouri, putting a dirty milk glass and a plate from a roast beef sandwich in the same dishwasher can contaminate your soul, or most famously and least disputed the idea that when certain rites are performed bread and wine turn into human flesh and blood once in your stomach. I mean, there are plenty of genuinely weird ideas and practices in the United States, I mean, these are just off the top of my head. So even though this very specific sect of Evangelical Christians has the odd little habit of swinging snakes around and drinking poison really, who can judge the m? I would like to mention that I did a little digging regarding this film, partly because I am fascinated by religion and partly because I wanted to know more about it and I found out that two of the men in the film have died, possibly a third, but without names, I cannot say for sure. Also, the pastor in the film, whose name is Glenn Summerford was convicted of attempted murder for stuffing his wife Danielle’s hand into a box of rattlesnakes when he was in a ‘drunken rage’ in 1991. Glenn was sentenced to 99 years in prison. There is a book about this titled, The Serpent and the Spirit and I now intend to read it as well. After some of the additional information I have uncovered and a lot of the stereotypes we have all heard regarding people living in this area, I wonder if these people live their lives in a more rowdy fashion than you would imagine given the scenes we are shown in the film, which is why I placed the quote I did under the title at the top. The skeptic cynic in me says that the snake handling has less to do with God or the Holy Spirit and more to do with each individual using this fate tempting to make themselves feel better, maybe about indiscretions, financial hardships, poor decisions, who knows? Do something wrong, feel guilt, handle the snake, live through it, decide God isn’t that mad at you after all because he is a forgiving God and you made a mistake, feel better†¦ now repeat. I suppose that is what every religion is supposed to do for its followers, make you feel better, help you find peace, give you a sense of place, let you know that ‘it’ is gonna be okay. So as a non-judgmental observer with no plans of attending service or joining the Church of Jesus with Signs I say, ladies and gentlemen, turn up your amps, raise your cups of strychnine and shake those snakes! How to cite In Jesus’ Name: Taking Up Serpents, Papers

Strategic Marketing Management Customers at Work

Question: Describe about the Strategic Marketing Management for the Customers at Work Circumstances? Answer: Changing microenvironment factors that impact on Ford Microenvironmental factors Microenvironmental factors are depending on various active stakeholders of a company. These stakeholders have their great effect on the business. To execute the environmental factors on the organizations, Ford has been chosen for this study (Dunkel Kleemann, 2013). The effects of microenvironmental factors are having a great impact on the marketing of the Ford. The factors are described as follow: Customers: Ford has an excellent customer base all over the world. They also give customer benefits and adaptable service for the customers. Depending on the market the Ford is gaining more customer support from different countries (Dunkel Kleemann, 2013). Suppliers: The suppliers are very superior in the Ford. The vendors are providing the best products at a low price as the market is becoming very much competitive. So, this is becoming a great impact on the organization. Distributors: distributors are promoting the cars for the organization and also making the product knowledgeably to the customers. The Ford has many sellers who promote and sell the products directly to the public (Shankar Carpenter, 2012). Competitors: The competition level of the automobile industry is very much impressive. He BMW, Volkswagen, Benz, and Hyundai are the main competitors of the organization. the competition level is as follow: SWOT analysis Strength Weakness 1. Increasing customer base 2. International growth 3. Increasing market share 1. Low price focus 2. Previous debts 3. Mainly depends on UK clients. Opportunity Threats 1. More international acceptance 2. New car launch 3. New formats 1. Increasing competitors range 2. Loosing upper level customers 3. New competitors in the market References Dunkel, W., Kleemann, F. (2013). Customers at work. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan. Shankar, V., Carpenter, G. (2012). Handbook of Marketing Strategy. Cheltenham: Edward Elgar Pub.