Judgement. 15 Oct.
Nature in the abstract:
The open ended discussion of what nature means was especially productive last week. You all provided some very interesting & useful definitions that include, but are not limited to, the following paraphrases: people convert (manufacture) nature into culture; nature both precedes and exceeds culture; nature is a word that denotes rocks, plants, animals, humans, and the universe; human nature is a synonym for a force that drives people from the inside despite their best efforts; humans classify nature into hierarchies; nature represents the limits of human thought (i.e. dumb as a box of rocks); nature is insensible to human classification; and nature functions as a benchmark for determining value and/or has inherent value.
Nature in King Lear
- Edmund’s soliloquy (2.1-21): He gives us nature as an abstract noun (anthropomorphism); state of nature that precedes (&exceeds?) culture, and as such can be made to function as an arbiter of value (i.e. bastards are better than legitimate babies); “natural ties of human feeling” (ft. nt. 1 p.116); natural, denoting “related to blood.”
- “Book of Nature” and/or Omens: “An admirable evasion of whoremaster man, to lay his goatish disposition to the charge of the stars!” (1.2.119-20).
- Edgar’s transformation (7.166-85): Does Edgar decide to turn from culture to nature? Is his transformation inevitable, or does he choose to put on a disguise or costume? Also, & according to the play, can humans ever be naked? Is nature something a man can perform?
- Nature as vitality: Lear telling Gloucester and Kent, “We are not ourselves/When nature, being oppressed, commands the mind/To suffer with the body” (7.268-70).
- Unnatural: Lear’s criticisms of his daughters: “O, Regan she hath tied/Sharp-toothed unkindness like a vulture here” (7.294-5) & “Looked black upon me, struck me with her tongue/Most serpent-like upon the very heart” (7.317-18), to name just a two of many, many instances.
Part I. Judgement and Peter Brook’s & Paul Scofield King Lear (1971)
Keep the following in mind while we watch the heath scene from Brook’s Lear:
- What interpretive choices does Brook make? Are they successful? Why or why not?
- What difference does it make to any of the action that follows that the decision at the center of the play is ambiguous? Also, after Lear who gets to choose?
Part II. Rhetorical Analysis of the Introduction
Take ten minutes to respond to the following and be prepared to cite specifics from Stanley Well’s introduction. Pay specific attention to pages 1-3 & pages
- What sorts of arguments does Stanley Wells make in his Introduction? Could you read the play differently?
- What sorts of subheadings and information does the Introduction contain?
- What’s unusual about the Wells edition of King Lear? How does he solve textual problems and why?
- How do the Introduction and the footnotes in the text work together to produce a theory of the play?