King Lear Puns

I don’t know what I expected though, having never taught Sheikh’s peer before.

What are your favorite King Lear quotes and why, I would love to know !!

Who would you cast with a possible Denzel led King Lear adaptation? whom would you have possibly be in directors chair? maybe Shaka King or Steve Mcqueen? how would you frame it as a story?. He has stated after Lear he'd like to do more stage where he will most likely finish his career, so no more films at all.

My dad’s hoarding has taken over his life. He’s always had tendencies from before I was born and is super aggressive. He lives alone in a 2 story house accompanied by his hoard and sometimes his sister comes visit. But I don’t think he gets many meaningful human interaction. The family that do see him are there to tell him about cleaning up. He can-scrounges and dumpster dives, and the mess is so extreme that his yard is filled and his house is unwalkable. He lives in a residential place that’s getting gentrified, and his neighbors are calling the city to fine him. Today I went to see him and basically head butted with him, asked him to consider getting help with removal which he refused, and we came out of it with things maybe worse than before. And now that I’ve got the house deed in my name, he mentioned waiting for me to kick him out.

Tldr: my experiences with my hoarding dad

Many comparisons have been drawn between Kurosawa Akira’s samurai masterpiece Ran (乱, translated literally: “chaos”) and Shakespeare’s King Lear. The film is almost a beat-by-beat adaptation of the play, transplanted in setting from medieval Britain to the Sengoku Jidai. This is more than simply an aesthetic choice, as it reweights the moral discourse on matters such as duty and familiality. Nihilistic interpretations of King Lear came into vogue in the 20th century, and commentators have pointed to King Lear as the inspiration behind absurdist playwrights like Samuel Beckett. Indeed, Lear is a man with unmet psychological needs, who subsequently spirals into madness when his life’s course escapes his control. Unlike other tragic heroes who struggle valiantly against their fates, Lear stumbles to his doom in a half daze, unable to cope with his life’s changing circumstances. Rescue seemingly comes and he regains his senses momentarily, but is soon thrown into imprisonment, where Cordelia, perhaps the most moral character in the play, is killed. Though he also outlives his treacherous daughters Goneril and Regan, Lear dies nonetheless, having lost his will to live. Yet the narrative of Ran is not quite as unmoored from reason and agency. Ichimonji Hidetora, unlike Lear, is more than a vain fool: the three castles which he divides among his sons were obtained through his conquests, and he has proven a consummate warlord of the Sengoku Jidai. He has, at least in his past, been able to rule effectively, to see through deceptions (as all warfare is deception), and is a formidable, if not necessarily noble character; though later repeatedly betrayed, he does inspire loyalty from some of his followers. Yet in a senile lapse of judgment, his life’s work is put to ruin. Though Kurosawa’s ending is similarly difficult to grapple with as Shakespeare’s (shortly after reuniting with his father, Saburo is abruptly killed by an assassin sent by his brother), Ran is not so much absurdist theater as a cautionary tale about seeking privilege without responsibility, the danger of mistaking substanceless claims of virtue for true morality, and the cost of unrestrained sentimentality in a chaotic world.

Both stories begin at the same scene. Both lords wish to give up the mantle of responsibility: each wishes to split their feudal possessions between their children, in the hopes that each will come to the others’ aid in times of need. Yet while Lear solicits his da

Clean Script:

By day and night he wrongs me; every hour He flashes into one gross crime or other, That sets us all at odds: I'll not endure it: His knights grow riotous, and himself upbraids us On every trifle. When he returns from hunting, I will not speak with him; say I am sick: If you come slack of former services, You shall do well; the fault of it I'll answer. Put on what weary negligence you please, You and your fellows; I'll have it come to question: If he dislike it, let him to our sister, Whose mind and mine, I know, in that are one, Not to be over-ruled. Idle old man, That still would manage those authorities That he hath given away! Now, by my life, Old fools are babes again; and must be used With cheques as flatteries,--when they are seen abused. Remember what I tell you.

Written Work: Goneril

Who am I: Im Goneril, the eldest of 3 daughters of King Lear. My father has quite a temper. He speaks in a harsh manner to me, on the other hand, he always says good things about Cordelia (the youngest). I am done with my father's craziness and childless behaviors. Im married to the Duke of Albany a man who is feeble and can’t stand up to him when Lear misbehaves. I have been stuck in a miserable arranged marriage to Albany, "my hateful life". Aligning myself with Edmund is a much-desired escape route.

Who am I talking to: To Oswald, my steward (controller of my household domestic affairs). A trustworthy person.

Where am I: At my house

What do I want: I want to convince my steward to be lazy and neglectful around Lear. This way I can let my father know that his attitude is not acceptable.

Moment before: Im at my wits end because Lear and his, "hundred knights" have upset my household. He has been totally disrespectful. My father decided that he was going to live with me and he brought his 100 knights with him. He acts like he can do whatever he wants. Previously he gathered our family together in order to divide his kingdom amongst us before he abdicated his throne. In a fit of ego, he forced us into giving speeches that describe our endless love for him. I got half of his kingdom.

Goneril:

Did my father hit one of my attendants for scolding his fool?

Oswald:

Yes ma’am

Monologue

Goneril:

Im so annoyed!

Oswald:

He can’t be that bad, he is your father ma’am, im sure most of the time he is nice to you.

Start of Monologue/Dialogue:

(Tactic: Action)

(Tactic: Prove him wrong by telling him that L

Having just watched the most recent episode, it struck me that Clark’s insecure need to feel loved, and the way that need manifests in a powerful person as an abuse of power, is not unlike a certain king in a certain Shakespearean play. Just another cool loop in this cyclical style of storytelling.

I keep low-key thinking about what perhaps he'd perform like in a role like Lear.

I’m trying to write a paper on the purpose and meaning of “Nothing” in King Lear. The words meaning seems so ambiguous in the text. For Lear and Glouchner, the term initially seems to refer to a materialists view- nothing is literally a lack of anything. For others the word seems to entail something and pertains either to vice or virtue. Wanted to hear others thoughts on it meaning. Any ideas?

Hi there,

I will be starting to apply for acting school and I've decided to take Edgars monologue for my auditions (will need to take a second one of course, but this will be my first).

I have some questions that might be difficult to answer because I am from germany and there are some differences to the english version.

1. On almost any upload you can find in Youtube the monologue ends with 'edgar I nothing am', which makes sense and fits good. But in the book I initially found the monologue in it continues and ends when edgar leaves the scene (it's one of those '101 monologues to study' - books). So how do I now know which will be expected by the jury? I know the easy question is: just learn the whole damn thing and I will, but I don't want to be interrupted after 'edgar I nothing am' if you know what I mean. Also I will have to upload it as a video first and I don't know if I should do the whole thing or only until 'edgar I nothing am'.

2. In the part after 'Edgar I nothing am' are some words I do not understand. One of them is 'pillicok sat on pillicoks hill' (or maybe Mountain?) another one is the word 'Flibbertigibbett' which seems to be a folklore person? Both words are not translated and (to me) they sound extremly alien and when preforming the monologue to friends I believe they will be quite puzzled. Can someone explain?

I have only started and have not yet read King Lear - yes shame on me, but I have the book next to me and am 1/4 in, so sorry if those are questions that are answered later in the play. Sometimes things just come up and I can't continue until I understand fully.

Also if there are some germans here that might help as well, I don't even know how to pronounce 'Flibbertigibbett' in german or if I am supposed to pronounce it in english.

Does anyone know of a link or platform that is streaming this version of Lear? I’m so desperate - McKellen’s performance is supposed to be incredible but I can’t seem to find it online anywhere

In Shakespeare's King Lear, the descent of its namesake patriarch into madness amidst the storm marks the majority of the play, along with his distribution of his kingdom to his children (leading to the many Succession parallels).

A minor character who serves as a foil of sorts is Edgar, who is forced to flee and disguise himself as a beggar who goes by the name of..."Poor Tom."

Poor Tom then encounters King Lear at the peak of his madness within the storm, much in the same way that Tom is the one who directly encounters Logan in his own "mad piss" moments in the recent episode.

There are few important takeaways then, I believe, that can be made from this too-direct-to-be-coincidental parallel:

• Lear associates the "Poor Tom" beggar with the storm itself— "Though art the thing itself" (Act 3, Scene 4)—and in a similar way Logan sees any moment at which he is eye-to-eye with Tom a sign of his own descent in power/status rather than an elevation or ascent by Tom himself.

• Right before this line, "Poor Tom" utters a prescient series of lines to keep up his disguise—and one's that seem to foreshadow our beloved Wambsgams. When asked who he is, he proclaims at length, "A servingman! Proud in heart and mind; that curl’d my hair; wore gloves in my cap; serv’d the lust of my mistress’ heart, and did the act of darkness with her; swore as many oaths as I spake words, and broke them in the sweet face of heaven: one that slept in the contriving of lust, and wak’d to do it"

• Earlier in that very scene, "Poor Tom" remarks, "Who gives anything to poor Tom?" And then moments later, "Do poor Tom some charity, whom the foul fiend vexes." Even in disguise, this is a man well-aware of his own plight, and quite disposed to giving voice to them—even to the King himself. (remember when Tom ate Logan's chicken in the Season 2 finale, folks?)

• Finally, let's not overlook the success of "Poor Tom's" disguise, especially as the play ends with him revealing his true self, fatally wounding his half-brother who had deceived him (Kendall stand-in? or even Shiv?), and then concluding King Lear as perhaps the most victorious character. Could this be a sign that Tom is in fact working with the DOJ? That he may be the one to ultimately be named CEO? Both? Neither?

Regardless, King Lear continues to speak loudly in Succession, and in few ways more loudly than with "Poor Tom's" increasing relevance.

(if only Shakespeare had penned "fuck thyself"...)

PS

Never read/saw King Lear, and it's one of the few Shakespeare plays where I don't know exactly what happens (past the very beginning and very end). The way I like to experience Shakespeare plays for the first time is in complete text (or as close to it as possible) against a different setting than Shakespeare intended (I love the Branagh and Essiedu Hamlets for this reason). Are there any King Lear films/ stage recordings that fall into this camp? Or there iterations that fall outside of my criteria, but are so good I should watch them anyway? I hear Peter Brook's movie is the definitive film version.

Any other KL fans out there intrigued by all the shadowy back-story, subtext, often offstage stuff around the play’s ‘stage documents’? In the opening scene, we have the biggie, Lear’s division-of the kingdom map. Following that, we have by my count 16 instances in the play of letters sent (often intercepted or thwarted), or various other documents. This ‘epistolary pattern’ (my term) is a potentially huge but largely neglected part of the KING LEAR scholarship. Any thoughts about it out there?

I’m not sure if this was a full blown alt history novel or short story. I can’t remember where I saw it at all.

As a literature major/English teacher obsessed with King Lear, and like many of you as one irresponsibly-obsessed with Succession and its Shakespearean corollaries (including Brian Cox, a portrayer of Lear himself), I wanted to look at the end of Lear before tonight's finale. And, well, wow:

• Kent: "The wonder is, he hath endured so long: / He but usurp'd his life."

• Albany: "Bear them from hence. Our present business / Is general woe. Friends of my soul, you twain / Rule in this realm, and the gored state sustain."

• Kent: "I have a journey, sir, shortly to go; / My master calls me, I must not say no."

• Albany: "The weight of this sad time we must obey; / Speak what we feel, not what we ought to say. / The oldest hath borne most: we that are young / Shall never see so much, nor live so long."

A "gored state," indeed.

So much for happy endings, right? The weight of this sad time we must obey as viewers, too, I think, and the master that is Succession is calling. Who among us could even contemplate saying no to this ending and whatever it has in store?

For reference, this is (in some editions) Act 2, Scene 4, Line 268. Who does the "you" refer to? I'm guessing he's referring to "you gods," only I was thrown off by the third-person singular agreement, "you that stirs." If it referred to "you gods," wouldn't it be, "you that stir"? Thanks for your help clarifying this small detail.

Select either two or three major speeches from the play “King Lear” (Shakespeare) and demonstrate, by close analysis, their relevance to issues in the play as a whole The two speeches I ha.

Prefacing this with the fact that, yes, the King Lear comparisons have been done to death already, and it's not a perfect parallel. I do, however, think it's interesting to have a look at how certain comparisons have shifted after the finale.

The Siblings:
I think one of the most common things brought up when discussing the Lear parallels is that none of the siblings really compare to Cordelia at all, what with her being the genuinely "nice" sibling - instead they're all Goneril and Regan. While I generally agree with this, to some extent I think this can be argued with as well - in my opinion Kendall, Shiv, and Roman have all played the role of Cordelia at some point. In Season One it was Kendall when he was cut out from the position of CEO just like Cordelia was banished from the kingdom - it could be argued that he was still fitting into the role of the other sisters considering that he does move to overthrow Logan/Lear, however I do think in Season One there was still genuine love for Logan, and the way he's shut out from the company really does remind me of King Lear.

In the second season it's Shiv that assumes the role of Cordelia, with Kendall falling into the background in his attempts to gain his father's approval. Again, there's definitely a case to be made that Shiv is more like Regan or Goneril, particularly in the way that she attempts to manoeuvre her way into gaining power within the company, but again the way that she's effectively cast aside by Logan, and the way that she genuinely (in my opinion) cares about him and believes that he does the same.

In Season 3 it's Roman that's Cordelia, with the same pattern occurring - one child is the one that "truly" loves Logan, with the others being cast aside. However, I think if you were to make a particular judgment about each character only playing one role, I think Roman is the most likely surrogate for Cordelia. He's technically cast aside in the first season because he's generally considered incompetent, and he's less ruthless than his siblings when vying for the top spot (at least initially). Furthermore, he's the one who cares about Logan the most, despite his abuse: I think this was made especially clear this season with his reaction to Logan's UTI. Kendall and Shiv are Goneril and Regan; initially Goneril hurts Lear, so he turns to Regan; then Regan disappoints him too, and finally he turns to Cordelia.

It's worth noting for these three siblings, however, that **none of them

Goneril, the oldest of the three siblings of the patriarch Lear, commits suicide off-stage in the final act of the play.

That's all.

I’m writing an essay and I need to argue towards it being too tragic. I think some discussion would be good to get the thoughts flowing. Personally I feel the way the entire cast of characters barring 3 die is very cruel to the surviving cast, and the fact that it is left open ended can be read as being very pessimistic. Also they don’t seem to even have had enough time to digest the lessons they have learned. Lear for example. And then Gloucester losing his sight and everything but still dying in the end is just some more cruelty from Shakespeare’s part.

I mean that scene tonight between Kendall and Logan felt word for word like James and Rupert’s break up. Amazing stuff.

Murdoch family dynamic background

Select either two or three major speeches from the play “King Lear” (Shakespeare) and demonstrate, by close analysis, their relevance to issues in the play as a whole The two speeches I ha.

Select either two or three major speeches from the play “King Lear” (Shakespeare) and demonstrate, by close analysis, their relevance to issues in the play as a whole The two speeches I ha.

And Tom is Albany. The S3 finale nailed it. He will be the next CEO of Waystar Royco/Gojo.