Severe Mercy in King Lear :: King Lear essays

Severe Mercy in King Lear      Ã‚  Ã‚  Ã‚   The best thing about King Lear is that the deeper you dig, the more meat you find. It seems straightforward enough, except that every now and then something leaps out of the dialogue that severs the veil of coherent reality to strike sharp blows at the eternal Within. Even with a minimum of thought, few, I think, when considering King Lear, could emerge unshaken. There are shining archetypes of pain and grace and mercy and redemption. And like all truth, Lear abounds with paradox: we love him, we hate him; he is as King, deity; as father, a child. His beginning is noble yet immature, his end is destitute yet sublime. His subjects, all, are antonyms and mirrors. The messages come to us disguised as both story and image. The two are hopelessly bound up with one another, but we shall consider them a little separated in hopes of making some progress through such mvstic mire. The images come as flashes of recognition and intuition. We needn't understand something to be affected by it, for intuition is recognition on the sub-conscious level, which is equally, if not more, important. But unlike the "jolts of glory" that images may bear, the story is gradually grasped, perhaps even long after the performance, when the mind may consolidate and review the witnessed events. On the surface, King Lear is a pagan play, as it is set pre-Christian England. But it has, for all that, no shortage of appeals to deity and interesting speculation. This is, after all, a play set on the brink of eternity and it must make us wonder on the universe in relationship to the characters and ourselves. The first tragedy is that Lear's world is void of revelation. It is simply Man and the awesome silence of the Dead. They are a people with no assurence. We who watch the play with the benefit of a Christian worldview have got to displace ourselves and push our assurances and belief aside, if possible, to let inan inkling of the dispair and horror which must meet each man with no hope. It is not easy to do, and extremely discouraging when we succeed. Asin Beowulf, one of our language's oldest pieces of mythic literature, a man's only assurance of afterlife was living on in the memory of those who remained alive, and the greatest end would be a heroic ballad, a song through which a man may live forever, if forever it were sung.

Melodramatic stage Essay

â€Å"It isn’t so free here either, Rodolfo, like you think. I seen greenhorns sometimes get in trouble that way – they think just because girls do not go around with a shawl around her head that she isn’t strict, y’know?† Girls don’t have to wear black dresses to be strict. Know what I mean?†Ã‚  Although Eddie did not absolutely loose his temper he has forewarned Rodolfo very frankly in front of the whole of household that he should keep his distance from Catherine. â€Å"Well, I always have respect †Ã‚  Ã¢â‚¬Å"I know, but in your town you wouldn’t just drag off some girl without permission, you know what I mean Marco?†Ã‚  Marco who has been quiet until now cautiously says yes, he does not want to interfere between Rodolfo and Catherine but does not want to answer Eddie ‘no’ as this would make Eddie distrustful of him, which he wants to avoid.  Ã¢â‚¬Å"Well he didn’t just drag her off though, Eddie.†Ã‚  Beatrice on the other hand gets fractious by this and sharply replies to Eddie, Eddie aware of her criticising force softens up but doesn’t stop. He goes on to say –  Ã¢â‚¬Å"It might be a little different here, but it is just as strict.† Rodolfo now realises Eddie’s anger for him and in a tender-hearted voice asks him-  Ã¢â‚¬Å"Did I do anything wrong.†Ã‚  Eddie now propitiates and tells him that he is not her father, but before he could finish, Beatrice ungraciously interrupts and rebukes him to be her uncle. Eddie realising her indignation keeps his temper under control, as he wants to show Rodolfo who is the person in jurisdiction of the house  Marco who has been without intervention listening to the whole matter gets up in a censurable way and asks Beatrice and Eddie to tell Rodolfo, if he has made any mistakes. Marco probably does not fully actualizes Eddie’s anger against Rodolfo yet, he thinks it is ephemeral and tries to make things more transparent and satisfy Eddie. Beatrice tells Eddie that the reason why Rodolfo and Catherine came late was because the movie ended late, but Marco tries to calm Eddie by asking Rodolfo to come home early. Eddie sensing Marco on his side tries to restrict Rodolfo’s movements and stop him going out with Catherine by saying –  Ã¢â‚¬Å"Look, kid, I am not only talking about her. The more you run around like this more chance there is that you get picked by immigration bureau†.  Beatrice senses Eddie’s intentions and again ungraciously interrupts him between his conversations and says that there is the same chance in the daytime. Until now Eddie has been attempting to make his point Non contentiously, but after being ungraciously rebuked by Beatrice, he gracelessly tells cousins that he thought they were both coming here to work and earn money, not fool around. This exceptionally strikes with Marco as he has responsibility for feeding his wife and children. Marco confirms with Eddie, that this is still the case. This embarrasses Marco, because by saying that if you are here to work than you should work, Eddie is essentially saying you can only live in my house if, you work hard and particularly mind your own business. This is of exceptional significance to Marco as he has four children and a wife who he has to send money which provides for their food and medicine, or else they would die. This is also the first awkwardness between Marco and Eddie as until now Eddie has regarded Marco as a hard working man and always respected him. Catherine who is the focal point of this entire repercussion between cousins and Eddie is now glowing with revolt against him. Catherine who is a grown up girl, who wants to be free and spend more time with Rodolfo views Eddie as someone preventing her from outside world, indeed, Eddie is obsessed with Catherine and is extremely over-protective towards her. He wants to dominate every aspect of her life, from the clothes she wears to the person she waves to and where she should go for a job. And now Catherine flushed with anger tries to disobey Eddie by inviting Rodolfo to dance with her on ‘Paper Doll’. Rodolfo, who is afraid that Eddie may make an issue of this, shows some fictional unwillingness in difference to Eddie. Beatrice countenances Rodolfo to go ahead and dance. Catherine takes Rodolfo’s hand and he stiffly rises, feeling Eddie’s eyes on his back they dance. The tension between the characters can be easily seen in their actions. Catherine’s rebellious behaviour is easily visible, when she goes to Rodolfo and takes his hand in her hand and invites him to dance. Rodolfo doesn’t easily agrees to dance, he first shows fictional unwillingness feeling Eddie’s eyes on his back, but after being inspired by Beatrice stiffly rises and goes to dance.  Eddie perceiving the tension in the house does not react to Catherine dancing with Rodolfo, but turns his head away in a very deprecate demeanour. At this point in the play, audience know that Eddie Carbone is very prophylactic towards his niece and he despises Rodolfo. This new crisis has taken a categorically different turn; Catherine is becoming more and more mutinous and Beatrice is advocating Rodolfo and Catherine. Eddie seems to be the only person secluded trying to what he thinks, protect Catherine from Rodolfo. Audience anticipate this extremity to be deciphered possibly by Beatrice. Throughout the whole play Beatrice has been impersonated by Miller as the most consequential person on Eddie Carbone, she has also actively tried to diffuse the tensions by jokes and in some contentions she has taken sides and silenced Eddie. She is also the person who is most consequential and proximate to Eddie. However, Carbone household is once again under strain, as Eddie Carbone the prophylactic, unpretentious character soon finds out that he is  Un-proficient to control his indignation, covetousness and detestation towards Rodolfo. Until now, Eddie has only been manifesting his indignation towards Rodolfo through declamation, but this melodramatically changes after Catherine, crimsoned with rebellion, disgusted with Eddie’s intervention in every countenance of her life invites Rodolfo to dance with her. This brings out an exorbitant indignation from Eddie, now we see Eddie expressing his vehemence not only through words but also through actions. After the dance, Eddie Carbone infuriated by his indignation delivers an atrocious dialogue to the whole of the household about Rodolfo.  Ã¢â‚¬Å"He’s lucky, believe me. That’s why the waterfront is no place for him. I mean like me – I can’t cook, I can’t sing, I can’t make dresses, so I’m on the waterfront. But if I could cook, if I could sing, if I could make dresses, I wouldn’t be on the water front.†Ã‚  This speech is of un-describable significance to the play. In this speech Eddie nearly exposes the whole issue in front of the whole household, by his dialogue but more by his actions. Eddie, by the end of his speech is perfunctorily twisting the newspaper in his hand in to a tight roll when it unexpectedly tears in half. This shows exasperated and how fretful Eddie has become of Rodolfo’s relationship with Catherine, and now Eddie’s indignation has reached a new level against Rodolfo and now his furore a nd ire can be seen in his actions. As seen throughout the whole play Miller uses melodramatic stage directions and often characters dramatize actions which changes the course of the whole play. For example, Eddie’s furore and ire against Rodolfo are disclosed, when Eddie rolls the newspaper in to a tight roll and then it tears in two. These types of actions not only give audiences clues of how this particular character will react to this character and to this kind of situation next time, but also gives them clues of what will happen next in the play.

Domestic Violence Against Women A Global Issue - 1564 Words

Domestic violence against women is a global issue that is happening all across national boundaries as well as socio-economic, cultural, race, and class distinctions. It is a problem without frontiers. Not only is the problem happening all across the world, but it’s incident is also large, making it a typical and accepted behavior because it happens a lot. Domestic violence is not an individual event but a repeated behavior that the batter uses to gain control and power over the victim. Domestic violence isn’t always physical abuse but also mental abuse. Batters use psychological terrorism, isolation, sexual abuse, threats against their children, economic methods, and brainwashing techniques to keep them in violent relationships. Many think that it is always the man abusing the woman but that is not always the case. Women abuse men too. â€Å"In this case Hope Solo, the U.S. soccer team’s goalie, is facing charges of domestic violence towards her sister and young er nephew while intoxicated†(Young, â€Å"Hope Solo and the Surprising Truth About Women and Violence†). In the article, â€Å"Hope Solo and the Surprising Truth About Women and Violence† by Cathy Young, Young â€Å"exposed† women on domestic violence against men. Yes, domestic violence against men does happen believe it or not. It’s just not out there and publicized like it is when men abuse women. In my opinion, women are no different from men when it comes to domestic violence. Research showing that women are often the aggressorsShow MoreRelatedIntimate Partner Violence1364 Words   |  6 PagesIntimate partner violence (IPV), the researcher’s coinage of domestic violence, occurs more than one would think and it is not singularly a United States problem but a global concern. Why and how is IPV a global concern in this modern era? 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