King Lear

I confess that the thought of reading Shakespeare scares me.  The only Shakespeare I've ever read was Taming of the Shrew in English 11 and Macbeth in English 12, many, many moons ago.  I had difficulty understanding the language then and I confess that I still do today.  Somehow, just reading the play doesn't bring about the vivid imagery for me and so it was helpful for me to rewatch Ran, Akira Kurosawa's version of King Lear before reading the text.  Perhaps I rely on the visuals to fully understand Shakespeare as I enjoy and 'get it' when I attend Bard on the Beach plays.

I'll discuss a few themes/events/characters that stuck out for me.

Ironic that the Fool is the wisest character in the play!  He sees through all the characters' motives and the bad and/or wise decisions they make.  He warns Lear of his errors but Lear does not see it.  It is only through a series of unfortunate events causing Lear's downfall and suffering that he begins to realize his poor judgement in banishing Cordelia and Kent and elevating Goneril and Regan.  It is is a sense only by being the "Other" (e.g. the banished: Cordelia and Kent) that he understands what it is like to be banished/refused/disrespected/powerless.  And in the end, the suffering makes turns him into a better man.  A theme similar to Julian of Norwich, Dante's Inferno.  He redeemed himself at the very end but dies from the grief over the one daughter who loved him, Cordelia.

Loyalty seems to me to be a theme that really stands out.  I am impressed by Cordelia and Kent's loyalty (a form of love, I suppose but I wouldn't call it outright love necessarily) to Lear.  Their sense of duty reminds me of the sense of duty advocated by Mencius.  In this particular case, the loyalty of Cordelia and Kent also translates as compassion - compassion and empathy for the now poor and powerless Lear. Again, I see the theme of identifying with the "Other".  It is through identification with the "Other" that compassion can be made possible.

Honesty - Cordelia and Kent's action of speaking the truth causes them banishment and loss of power while Goneril, Regan and Edmund's lies get them 'ahead in the game' - at least in the beginning.  Very Machiavellian.  Deceit brings power.  In his particular case though, Goneril, Regan and Edmund "lose" in the end and suffer tragedy themselves.  Justice is meted, so to speak (except for Cordelia and Gloucester). Kent is elevated to ruler at the end of the tragedy and in a sense, his honesty and loyalty brings him power although in tragic circumstances.  Cordelia on the other hand, is murdered.  A sacrifice of all that is good - sort of like Christ.

Gloucester's gouged eyes - very dramatic.  Perhaps this symbolizes his 'blindness' in not being able to see through Edmund's plots?  Or his 'blindness' in not recognize Edmund as his own flesh and blood (rather than as a 'bastard child').

Aging - Lear's aging is a return to infanthood in the eyes of Goneril and Regan.  He is to be rendered powerless and be told what to do by his two oldest daughter.  He challenges this but to no avail.

Afterclass thought: I find it a bit offensive the ageism discussed in this class.  There was the question of Cordelia as a young passionate/stubborn 'child'.  Ditto with Antigone and also Heloise. I catch myself being ageist at times too, at aged 35, no 'spring chicken' myself.  It is not fair to pick on youthfulness and to equate it with naivity/passion and though unspoken, in a sense stupidity.  With age, does not necessarily come wisdom.  To imply this is incorrect and unfair.  I work with young university students and sure, I encounter plenty of naive youth but I also encounter amazing youth that puts me into awe their awareness and wisdom despite their young age.  I wished I had been that aware at 20 but sadly, I was not.

It was not clear to be that there was a fixed 'ritual' at the beginning of the play until Budra pointed it out...

Interesting that Lear treats the Fool well and accepts his honesty yet banishes Cordelia for her honesty.

"King Lear" and the Fool in Akira Kurosawa's Ran