King Lear (Cliffs Notes)

Book Description

The original CliffsNotes study guides offer expert commentary on major themes, plots, characters, literary devices, and historical background. The latest generation of titles in this series also feature glossaries and visual elements that complement the classic, familiar format.

In CliffsNotes on Shakespeare's King Lear, you explore one of Shakespeare's greatest tragedies – the gripping story of greed, treachery, and murder among sisters; and the foolhardiness and revelation of a father.

This study guide carefully walks you through every twist and turn of Shakespeare's classic by providing summaries and critical analyses of each act and scene of the play. You'll also explore the life and background of the "Bard" himself -- William Shakespeare. Other features that help you study include

Character analyses of major players
A character map that graphically illustrates the relationships among the characters
Critical essays
A review section that tests your knowledge
Glossaries of difficult words and phrases

Classic literature or modern modern-day treasure – you'll understand it all with expert information and insight from CliffsNotes study guides.

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In this tragic play, Lear, a ruler in pre-Christian Britain, is described as a "very foolish old man, fourscore and upward." Grossly misjudging his daughters, he endures a harrowing experience and emerges as a man "more sinned against than sinning."

Customer Reviews:

Pretty good.......2004-03-03

This is a good basic intro to studying Lear - but I wouldn't rely solely on this. The Cliff's Complete on Lear is MUCH better and much more in depth. Perhaps use the two together?

King Lear, MacBeth, Indefinition, and Tragedy

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King Lear, MacBeth, Indefinition, and Tragedy
Stephen Booth
Manufacturer: Yale Univ Pr
ProductGroup: Book
Binding: Hardcover

ASIN: 0300028504

Book Description

In this provocative book, first published in 1983, Stephen Booth speculates on the essence of tragedy. He argues that the literary works we call tragedies have their value as enabling actions: dramatic tragedies can render us capable, temporarily, of enduring practical, personal experience of the fact of infinity.

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First published in 1983, this book closely examines the way in which King Lear and Macbeth act upon the understandings of their audiences, and asks what it is about these plays that makes us call them tragedies, and what we are labeling in a play when we call it a tragedy. Booth argues that the literary works we call tragedies have their value as enabling actions: dramatic tragedies can render us capable, temporarily, of enduring practical, personal experience of the fact of infinity. In Part 1, 'On the Greatness of King Lear' Booth's starting point is the impact of the play. Through analysis of its variously indefinite particulars, he works toward general assertions about tragedy. Part 2, on Macbeth, starts with the idea of tragedy and works back to the play. Seeing an essential connection between tragedy and human intolerance of indeterminacy, he characterises Macbeth as a flirtation between definition and indefinition. Bridging Parts 1 and 2 is a brief chapter on Love's Labor's Lost in which Booth points out the indeterminacy that this comedy shares with King Lear and describes the categorically necessary function of indeterminacy in jokes and puns. In an appendix on the practice of doubling by Elizabethan and Jacobean actors he considers the possibility that Shakespeare's purposeful exploitation of artistic definition/indefinition extended to the particulars of theatrical production.

Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, and Macbeth (Penguin Classics)

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Literary criticism which is in and by itself great literature
Speaking to 21st century readers....
Still hugely important
A wonderful writer on a great subject
Brilliant Shakespearean criticism

Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, and Macbeth (Penguin Classics)
A. C. Bradley
Manufacturer: Penguin (Non-Classics)
ProductGroup: Book
Binding: Paperback

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ASIN: 0140530193

Customer Reviews:

Literary criticism which is in and by itself great literature .......2006-09-10

In his opening chapter Bradley defines for us the essence of Shakespearean tragedy. He points out that Tragedy involves the fall of a great hero, but that this fall does not come as random event or as willful act of God , but rather through the results and consequences of the action of the hero himself. He points out too that the effect of this fall is not to leave us in despair or depression, but rather to leave us with a sense of the wonder, mystery and greatness of life i.e. that paradoxically Shakespearean tragedy has an effect on its audience which is uplifting. And this though the hero invariably is killed at the end.
Bradley points out also that the death in tragedy is not the slow crawling death of an illness, but comes out of a sudden violent effect of the action. This too sharpens our sense of wonder and mystery.
The heroes of tragedy and their stories somehow give us a feeling of life and its terrible end which magnifies our feeling of 'greatness' while somehow leaving us more humbled.
I do not know if the paragraphs written above translate Bradley in a completely accurate way.
I do know his writing is inspirational, moving and uplifting. The criticism of the plays makes you want to know and read the plays more.
This is the kind of Literary criticism which is great literature in and by itself.

Speaking to 21st century readers...........2002-08-09

A.C. Bradley wrote these lectures in 1904, and the book has gone through at least 26 printings. It is significant that the Folger Shakespeare Library has republished these lectures. They are hugely important and vibrantly written. I am sure my father read these in college, and I know my son did, too. I'm glad I finally got around to them! You will be, also, for all the reasons that other reviewers have noted.

Still hugely important.......2001-04-10

(Amazon should spell Macbeth's name correctly - not as "MacBeth"!) This has for almost a century been, and continues to be today, one of the most important books on Shakespeare's best and most popular tragedies. For much of the time since around 1930, it has been severely criticised: on the grounds, chiefly, that the author is too much inclined to respect or have sympathy for the heroes (which he is), and that he treats them too much like "real" people (which he does, and which they aren't).

Yet, for all that, Bradley's approach to the heroes as though they were characters we all know has revealed a great deal about what Shakespeare has made those characters, and those who see the characters as complex and psychologically worth exploring identify a more significant aspect of Shakespeare's interest in humans and his art than do many of Bradley's opponents. Moreover, the detail of his examinations of the texts makes it possible to probe much with him, even if one continues to question or quarrel with him on the way (and he is not infrequently demonstrably wrong). Thus this remains a work of criticism which is inspirational and searching even if at times quite wrongheaded; and every serious reader of Shakespeare (including actors and directors) should read this book and own it. - Joost Daalder, Professor of English, Flinders University, South Australia

A wonderful writer on a great subject.......2000-01-12

I am so glad this book is still in print (it was first published in 1904, I think). My original copy was second-hand and it would be awful to think I couldn't get another! Bradley is so illuminating on Shakespeare's intentions, and on the characters of his great tragic figures. If nothing else, read his brilliant discussion of Macbeth - it will convince you that, for a perspective on human nature, for conceiving a dramatic character whole, Bradley was as great a critic as Shakespeare was a playwright. Don't miss him!

Brilliant Shakespearean criticism.......1999-12-15

Bradley offers some of the most eloquent, complete, and balanced criticisms of the tragedies that I have yet read. Unlike so many literary critics of today, Bradley does not disdain to view Shakespeare's characters as actual people, which lends his view of the works a sense of import and meaning which so few critics manage to convey. These lectures are necessary reading for anyone at all who wishes to understand Shakespeare's tragedies better, actors, directors, and academics alike.

Four Great Tragedies: Hamlet, Othello, King Lear, Macbeth (Signet Classics)

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The Best of Shakespeare in One Book
best
An excellent collection with great footnotes

Four Great Tragedies: Hamlet, Othello, King Lear, Macbeth (Signet Classics)
William Shakespeare
Manufacturer: Signet Classics
ProductGroup: Book
Binding: Paperback

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ASIN: 0451527291

Customer Reviews:

The Best of Shakespeare in One Book.......2003-06-19

Having a love of literature, and being an English Lit. major has given me the oportunity to read most of Shakespeare's works. Shakespeare's talent and genius has surely endured and his beautiful writings are essential to mankind not only in the classroom but throughout our lives. His tragedies speak the loudest to me, as they are charged with drama, emotion and memorable quotations. Having to choose a favorite book of all time I would say, "Othello." Yet Hamlet is my second favorite drama of Shakespeare's, and Macbeth also holds strong. I do not care for King Lear but having Shakespeare's 4 greatest and most popular tragedies in one book is a collection worth having.

best.......2000-06-24

4 of his best i strongly recomend this group of storys.

An excellent collection with great footnotes.......2000-03-14

Hamlet, Othello, King Lear, and Macbeth are Shakespeare's greatest works. These fantastic stories, coupled with strong footnotes, make for superb reading material. I would recommend this book to beginning and master Shakespeare readers.

Woman and Gender in Renaissance Tragedy: A Study of King Lear, Othello, the Duchess of Malfi and the White Devil

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Woman and Gender in Renaissance Tragedy: A Study of King Lear, Othello, the Duchess of Malfi and the White Devil
Dympna Callaghan
Manufacturer: Humanities Pr
ProductGroup: Book
Binding: Hardcover

Four Tragedies: Hamlet, Othello, King Lear, Macbeth (Bantam Classics)

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Shakespearean tragedy -Greatness is all
Tragedy!
excellent edition of great tragedies
This book needs footnotes!
for shakespeare fans

Four Tragedies: Hamlet, Othello, King Lear, Macbeth (Bantam Classics)
William Shakespeare
Manufacturer: Bantam Classics
ProductGroup: Book
Binding: Paperback

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ASIN: 0553212834
Release Date: 1988-01-01

Book Description

HAMLET
One of the most famous plays of all time, the compelling tragedy of the young prince of Denmark who must reconcile his longing for oblivion with his duty to avenge his father’s murder is one of Shakespeare’s greatest works. The ghost, Ophelia’s death and burial, the play within a play, and the breathtaking swordplay are just some of the elements that make Hamlet a masterpiece of the theater.
OTHELLO
This great tragedy of unsurpassed intensity and emotion is
played out against Renaissance splendor. The doomed marriage
of Desdemona to the Moor Othello is the focus of a storm of tension, incited by the consummately evil villain Iago, that culminates in one of the most deeply moving scenes in theatrical history.
KING LEAR
Here is the famous and moving tragedy of a king who foolishly divides his kingdom between his two wicked daughters and estranges himself from the young daughter who loves him–a theatrical spectacle of outstanding proportions.
MACBETH
No dramatist has ever seen with more frightening clarity into the heart and mind of a murderer than has Shakespeare in this brilliant and bloody tragedy of evil. Taunted into asserting his “masculinity” by his ambitious wife, Macbeth chooses to embrace the Weird Sisters’ prophecy and kill his king–and thus, seals his own doom.

Each Edition Includes:
• Comprehensive explanatory notes
• Vivid introductions and the most up-to-date scholarship
• Clear, modernized spelling and punctuation, enabling contemporary readers to understand the Elizabethan English
• Completely updated, detailed bibliographies and performance histories
• An interpretive essay on film adaptations of the play, along with an extensive filmography

Customer Reviews:

Shakespearean tragedy -Greatness is all .......2005-10-28

To have the four great tragedies together raises the question of what the essence, the real heart of Shakespearean tragedy is.
In Aristotle's definition of Greek tragedy the overweening pride of the hero(hubris) and tragic fault( hamartia ) lead to his eventual destruction. The audience watching this is in the course of this purged of pity and fear.
In Shakespearean tragedy there is as in Aristotle a hero who is larger than the ordinary man. The hero too has a great flaw and comes to a destructive end. But the doubt and hesitancy of dreaming Hamlet, the great ambition for kingship of Macbeth, the blind filial love of Lear seem more emotionally complex than that of the Greek heroes. And the language in which the story of their respective downfalls is told is too more rich, complex, and ambivalent than that of the clearer Greek earlier model.
And this in such a way that the Shakespearean tragic heroes each seem to be in themselves a kind of supreme human essence, a manifestation of character at its greatest level of intensity.
Shakespeare's greatest heroes are individuals who become in some sense the ' type' of themselves, and live in our minds as models of humanity in its extreme essence.
'Greatness is all'

Tragedy!.......2003-07-23

Hamlet
This play, of course, is perhaps the best known in all of English literature. Taking it's inspiration from lesser plays and tales of the same name, Shakespeare crafted the characters, dialogue and plot into a timeless tale of betrayal, the quest for justice, and ultimately a hollow victory. This play, in short, is a downer.

I will speak daggers to her, but use none.

Of course, it really thrilled the audiences, who, lacking the primetime violence of today, enjoyed seeing the blood, the gore, the violence, the swordplay. Those with a more subtle bent were very satisfied with the wonderful dialogues, full of double and self-reflexive meanings. So many of the monologues have become common parlance in our language.

A hit, a very palpable hit.

The 'on one foot' synopsis: Hamlet, prince of Denmark, is suspicious that his step-father killed his father and usurped the throne and his mother's bedchamber; he plots to get revenge; in the meantime his love-interest Ophelia dies; in a duel to the death at the end the mother dies, the step-father dies, the duel contender dies, and Hamlet dies. Something is rotten in the state of Denmark.

The rest is silence.

Othello
Rude I am in speech,
And little blessed with the soft phrase of peace

Surely Shakespeare was not speaking of himself here. Even his poorly-spoken characters cannot help to have an elegance and subtlety all their own. Othello is another tragedy, this one driven by jealousy. The exact cause of the jealousy can vary; Iago can be jealous of Othello, of his love for Desdemona, of Desdemona herself, or several other possibilities. The emphasis often lies in the performance, and Shakespeare's play is written broadly enough to allow for any of these to be correct interpretations.

But men are men; the best sometimes forget.

Othello satisfied the need for violence, for passion, and for intrigue. 'On one foot', Iago, servant and friend of Othello, who also hates Othello, plants the seeds of suspicion that Desdemona has been unfaithful, leading Othello down a treacherous path that leads in his ultimate murder of Desdemona.

Take note, take note, O world!
To be direct and honest is not safe.

During one performance in the American Old West, an audience member became so entranced and enraged with the actor's portrayal of Iago that he took out his pistol and shot him. The tombstone of the actor reads 'Here lies the greatest actor'.

Lear
The prince of darkness is a gentleman.

This most difficult of Shakespeare plays, both for performing and for studying, is one of the true masterpieces of English (or any) literature, and yet is underperformed and underappreciated due to the power of its complexity and of its tragedy. Indeed, often the tragedy at the end has been softened by having Cordelia survive victorious. Beware these kinds of performances--they not Shakespeare's intent, however much we wish.

Lear begins with folly, and ends in tragedy, while treachery and evil seems to creep like a vine choking off first this person, then that. The fool is the only wise one; the insane are the only protected, and the nobles increasingly lose nobility of intent and action as the events progress. Gloucester and Lear are both deceived by wicked children turned against their better offspring; all ends in tragedy for most of the lot.

Lear addresses sibling rivalries, parent/child relationships, poverty and insanity, and any number of other readily accessible issues, but all interwoven so tightly that they cannot be unravelled easily, yet all the while the world for the characters are unravelling thread by thread before our very eyes. Lear points out the folly of human planning and agency. Lear was banned from performance, actually, during 1788-1820 when George III was considered insane, and the connexion between stage and royalty would be too blurred for official comfort.

Howl, howl, howl, howl! O! you are men of stones!

Macbeth
The witches, the blood-stained hands, the play whose name must not be mentioned in a theatre lest bad luck befall the actor or production. Macbeth is all of these, and more. Loosely based upon a real historical character, the tragedy here is one of ambition.

Fair is foul, and foul is fair:
Hover through the fog and filthy air

Did Macbeth really see the ghost of Banquo at the banquet, or was it indigestion because of the haggis? Macbeth can be played with or without a conscience, which makes for differing character development, but both options are available in Shakespeare's flexible playwriting.

Hear it not, Duncan; for it is a knell
That summons thee to heaven or to hell

Macbeth is driven by his ambition, but also by the ambition of his wife, Lady Macbeth, as treacherous a villain in many respects as any male character in Shakespeare. Macbeth has an overgrown sense of invincibility, convinced by prophecies that his course will be successful, and ordinarily it is (until it all goes awry); it is a successful struggle to the throne, but never secure, and in the end, all is lost.

Macbeth may be the bloodiest of Shakespeare's plays, a thrill for Elizabethan audiences, and a wonder to behold as the scenes get ever more desperate and darker.

This edition
There are so many editions of Shakespeare available, and many have merits. This particular volume of the four major tragic plays provides commentary by David Bevington which is insightful and accessible; it also gives photographs of performances and stagings by the New York Shakespeare Festivals, modernised spelling and concordance listings of major passages. Not short by any means (nearly 1000 pages), this will nonetheless give a good study to the plays, with visual aids, and supportive material, all in one volume.

excellent edition of great tragedies.......2002-12-14

this is an excellent 'cheap' edition of the great tragedies. besides being edited by david bevington, considered one of the foremost shakespeare scholars, the bantam edition also includes introductory essays for each play AND the source material that shakespeare used - ie, the actual short stories or plays that the bard drew on to the write his plays. wonderful stuff and a great way to get into shakespeare.

This book needs footnotes!.......2001-01-01

An integral part to any Shakespeare work is the presence of footnotes! This book has a glossary, but it does not do any good because there is not sign in the actual text itself that one can look up specific words in the glossary. While the plays themselves are very enjoyable, do not purchase this edition unless you feel very confident about your ability to read Shakespearean language.

for shakespeare fans.......2000-09-04

this is a great book for shakespeare fans. it was the first time i read shakespeare outside of class, and it was very interesting. i didn't like the prefaces much, i didn't have the patience to read them. i felt they were very of long, and harder to read and understand than the actual shakespeare. they actual plays-not stories, just to clarify- are wonderful. it would be a great book to read if you are taking a literature class and want to get a head start or if you want to expand your vocabulary. you can even relate the problems of those times to the problems of today. the plays were very fun to read once you got into them; shakespeare is just as great as he is said to be.

William Shakespeare's King Lear (Barron's Book Notes)

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Helpful
Great Ideas--But Beware!
Good value for your money
Difficult to understand
North Korean dictator Kim Jung Ill and King Lear?

William Shakespeare's King Lear (Barron's Book Notes)
William Shakespeare , and Arthur S. Rosenblatt
Manufacturer: Barron's Educational Series
ProductGroup: Book
Binding: Paperback

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ASIN: 0812034252

Book Description

Harold Bloom begins his introduction to this text by claiming that nothing in language goes beyond The Tragedy of King Lear. This text includes a brief biography of William Shakespeare, thematic and structural analysis of the play, as well as a host of critical essays by some of the most prominent experts on the text.

This series is edited by Harold Bloom, Sterling Professor of the Humanities, Yale University; Henry W. and Albert A. Berg Professor of English, New York University Graduate School. These texts are the ideal aid for all students of literature, presenting concise, easy-to-understand biographical, critical, and bibliographical information on a specific literary work. Also provided are multiple sources for book reports and term papers with a wealth of information on literary works, authors, and major characters.

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This is the first fully annotated critical edition of King Lear to appear for forty years. It includes a comprehensive account of Shakespeare's sources and the literary, political, and folkloric influences at work in the play; a detailed reading of the action, and a substantial stage history of major productions. Unlike previous editions, this one does not present a conflation of the Quarto and the Folio, but offers the latter as the authoritative text.

Customer Reviews:

Helpful.......2007-01-15

I have my degree in English... I like reading and teaching with this version as "help" not as a substitution. It gives a clearer understanding to Shakespeare for people who have difficulty with it.

Great Ideas--But Beware!.......2006-11-10

I bought this edition as a teaching supplement, not realizing that it is the folio version of the play. The words "quarto" and "folio" refer to the size of the pages in the two editions. Many secondary schools and universities use the quarto edition and a lot is left out of the folio--this version cuts out three hundred lines and adds one hundred new ones. The effect is that it alters the way the characters are shown. If you are reading the play with a class and they have a quarto version, while you are using your trusty teacher's Cambridge, chances are there will be a lot of blank expressions and confusion on their faces. The lines they see will not jibe with yours. The extra articles and class activities are great though--just make sure that if you use the Cambridge, you have your students buy only folio editions.

Good value for your money.......2006-09-08

Although this edition is not quite as exhaustive as the Arden Shakespeare paperbacks, it does have good commentary and even includes a fair bit of criticism. It's not expensive and the print is clear and readable, not small or cramped like some Shakespeare editions. The comments, which largely explain difficult words in the text, are printed on the same page as the text, which is helpful. I use a copy of this for studying Shakespeare - at such a good prize, you don't feel bad for scribbling notes in the margins.

Difficult to understand.......2006-04-01

It is not easy to understand the old style Eglish to non-native foreigner like me. But I read it cover to cover.

North Korean dictator Kim Jung Ill and King Lear?.......2005-07-08

Some have said that there are no memorable lines in the King Lear play. I would beg to differ. I am including a few: "Speak what we feel, not what we ought to say." -- King Lear (Act 5, Scene 3), Shakespeare. "This is the excellent foppery of the world : that when we are sick in fortune -- often the surfeits of our own behaviour -- we make guilty of our disasters the sun, the moon, and stars, as if we were villains on necessity, fools by heavenly compulsion, knaves, thieves, and treachers by spherical predominance, drunkards, liars and adulterers by an enforced obedience of planetary influence." ---- William Shakespeare; spoken by Edmond in *King Lear*, act 1 scene 2.

When William Shakespeare wrote his plays, I doubt he thought much about the effect of his works hundreds of years in the future. Just as I write these words, I doubt they will have a lasting impression. Yet King Lear does leave us a lasting impression of power: even the strongest, more arrogant men can fall and faulter if the wrong conditions exist. May we all hope that one day North Korean dictator Kim Jung Ill meet the fate of King Lear.

The Division of the Kingdoms: Shakespeare's Two Versions of King Lear (Oxford Shakespeare Studies)

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The Division of the Kingdoms: Shakespeare's Two Versions of King Lear (Oxford Shakespeare Studies)

Manufacturer: Oxford University Press, USA
ProductGroup: Book
Binding: Paperback

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ASIN: 0198129505

Book Description

King Lear, widely regarded as Shakespeare's greatest tragedy, survives in two substantially different early texts, the Quarto of 1608 and the First Folio of 1623. Since the 18th century, however, editors have fused these two documents to produce a third, composite text that forms the basis of
all modern productions and critical interpretations. Recently scholars have begun to challenge this editorial tradition, arguing that the Quarto and Folio texts represent distinct and coherent versions of the play that should not be combined. These essays, by an international team of scholars,
re-examine the early texts from a series of distinct but interlocking perspectives, in a wide-ranging discussion with profound implications for all readers of Shakespeare.

William Shakespeare's King Lear: A Sourcebook (Routledge Literary Sourcebooks)

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William Shakespeare's King Lear: A Sourcebook (Routledge Literary Sourcebooks)
Grace Ioppolo
Manufacturer: Routledge
ProductGroup: Book
Binding: Paperback

History | Drama | Literature & Fiction | Subjects | Books

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ASIN: 0415234727

Book Description

This Sourcebook discusses and examines King Lear within its literary and cultural contexts, bringing together material on: contemporary documents surrounding King Lear; performance history; early critical reception from major critics; twentieth-century criticism and key passages. All documents are discussed and explained. The volume also offers carefully annotated key passages from the novel itself and concludes with a list of recommended editions and further reading, to allow readers to pursue their study in the areas that interest them most.

Shakespearean Tragedy: Lectures On Hamlet, Othello, King Lear And Macbeth

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Shakespearean Tragedy: Lectures On Hamlet, Othello, King Lear And Macbeth
A. C. Bradley
Manufacturer: Kessinger Publishing
ProductGroup: Book
Binding: Paperback

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ASIN: 1417904089

Book Description

1908. From the Introduction: In these lectures I propose to consider the four principal tragedies of Shakespeare from a single point of view. Nothing will be said of Shakespeare's place in the history of either English literature or of the drama in general. No attempt will be made to compare him with other writers. I shall leave untouched, or merely glanced at, questions regarding his life and character, the development of his genius and art, the genuineness, sources, texts, interrelations of his various works. Even what may be called, in a restricted sense, the poetry of the four tragedies-the beauties of style, diction, versification-I shall pass by in silence. Our one object will be what, again in a restricted sense, may be called dramatic appreciation; to increase our understanding and enjoyment of these works as dramas; to learn to apprehend the action and some of the personages of each with a somewhat greater truth and intensity, so that they may assume in our imaginations a shape a little less unlike the shape they wore in the imagination of their creator.

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