King lear flashcards with themes

“Come not between the dragon and his wrath.” (1.1.124) – Authority and Kingship

Techniques: Imagery, foreshadowing, possessive language

The dragon imagery presents Lear as a powerful but destructive ruler, foreshadowing his downfall. The possessive pronoun "his" highlights his belief in divine authority. His wrath shows that his kingship is ruled by emotion rather than reason. This moment marks the beginning of his loss of control.

“The bow is bent and drawn; make from the shaft.” (1.1.147) – Authority and Kingship

Techniques: Metaphor, imperative language, foreshadowing

The weapon imagery shows Lear’s view of kingship as something to be wielded, not questioned. The imperative command reinforces his authoritarian rule, yet his desperation suggests instability. The metaphor of a drawn bow creates tension, foreshadowing conflict. This moment ironically signals the start of his loss of power.

“O, reason not the need! Our basest beggars /// Are in the poorest thing superfluous.” (2.4.264-265) – Authority and Kingship

Techniques: Repetition, contrast, alliteration

The repetition of "need" highlights Lear’s desperation to justify his authority. The contrast between kings and beggars questions whether power lies in status or perception. The alliteration in "basest beggars" emphasizes his growing awareness of human vulnerability. This marks a shift from arrogance to self-awareness.

“A dog’s obeyed in office.” (4.6.153) Authority and Kingship

Techniques: Animal imagery, irony, political commentary

The animal imagery dehumanizes authority, suggesting power can be given to the unworthy. The irony reflects Lear’s realization that kingship without justice is meaningless. His fall from power allows him to see the corruption of authority. This critique of blind obedience highlights the play’s political themes.

“Why should a dog, a horse, a rat have life, /// And thou no breath at all?” (5.3.305-306)-Authority and Kingship

Techniques: Animal imagery, rhetorical question, pathos

The animal imagery contrasts Cordelia’s unjust death with the survival of lesser creatures. The rhetorical question conveys Lear’s disbelief and grief. His reduced speech reflects emotional devastation and the collapse of his authority. This final moment shows his complete transformation from king to broken man.

"How sharper than a serpent’s tooth it is /// To have a thankless child!" (1.4.287-288)- Family and Betrayal

Techniques: Metaphor, imagery, emotive language

Lear compares filial ingratitude to a serpent’s bite, evoking biblical betrayal (Garden of Eden). The visceral imagery underscores his wounded pride and emotional devastation. The sharpness metaphor implies both physical and psychological pain, foreshadowing his descent into madness.

"Thou, Nature, art my goddess" (1.2.1) )- Family and Betrayal

Techniques: Apostrophe, personification, irony

Edmund rejects human laws and morality, pledging allegiance to nature’s law of survival. The irony is that in embracing nature’s ruthlessness, he betrays his own family. His invocation of nature foreshadows his manipulation and the chaos he will unleash.

"I am a man more sinned against than sinning." (3.2.60-61)- Family and Betrayal

Techniques: Paradox, self-pity, biblical allusion

Lear positions himself as a victim rather than acknowledging his faults, showing his inability to recognize his own role in the betrayal he suffers. The biblical undertone suggests martyrdom, yet the paradox highlights his flawed self-perception and growing madness.

“Out, vile jelly! Where is thy lustre now?” - Family and Betrayal

Techniques: Symbolism, irony, foreshadowing

The brutal blinding of Gloucester symbolizes the theme of metaphorical blindness—he trusted Edmund and rejected Edgar, only realizing the truth too late. The irony is that he gains insight into betrayal and loyalty only after losing his physical sight.

"Yet he hath ever but slenderly known himself." (1.1.294-295) - Family and Betrayal

Techniques: Foreshadowing, dramatic irony, characterization

Regan’s remark about Lear’s lack of self-awareness foreshadows his tragic downfall. The dramatic irony is that Lear, despite his authority, remains blind to his children’s true natures. His lack of self-knowledge makes him vulnerable to betrayal.

"O, let me not be mad, not mad, sweet heaven! Keep me in temper: I would not be mad!" (1.5.45-46)- Madness and Sanity

Techniques: Foreshadowing, repetition, irony

Lear’s desperate plea foreshadows his descent into madness, with repetition emphasizing his growing fear. The irony is that his attempt to maintain control over his mind mirrors his earlier failure to control his kingdom. "Keep me in temper" suggests self-restraint, yet his later madness exposes his emotional fragility.

"This tempest in my mind /// Doth from my senses take all feeling else" (3.4.12-13) )- Madness and Sanity

Techniques: Pathetic fallacy, metaphor, parallelism

The storm externalizes Lear’s inner turmoil, symbolizing his fractured mind. "Tempest" as a metaphor for his emotions highlights his loss of rationality, while "take all feeling" suggests his descent into numbness and detachment. The parallel between the storm and his madness emphasizes the chaotic consequences of his folly.

"Reason in madness!" (4.6.190) )- Madness and Sanity

Techniques: Paradox, irony, epigram

The paradox challenges perceptions of insanity, suggesting that Lear gains insight through his madness. His suffering allows him to perceive truths he previously ignored, demonstrating Shakespeare’s commentary on wisdom emerging from hardship. The phrase’s epigrammatic quality reinforces its thematic significance.

"Thou art the thing itself: unaccommodated man is no more but such a poor, bare, forked animal as thou art" (3.4.105-107) - Madness and Sanity

Techniques: Symbolism, existential reflection, repetition

Lear strips away social constructs, recognizing human vulnerability. "Unaccommodated man" symbolizes his realization that titles and wealth are meaningless, aligning with his mental unraveling. The repetition of "poor" and "bare" underscores this bleak insight, deepening his madness.

"I am a very foolish fond old man" (4.7.60) - Madness and Sanity

Techniques: Self-awareness, pathos, irony

Lear’s rare moment of lucidity reveals self-awareness, contrasting with his earlier arrogance. "Foolish fond" highlights his recognition of past misjudgements, evoking sympathy. The irony is that only through madness does he gain true wisdom, reinforcing Shakespeare’s theme of insight through suffering.

"Plate sin with gold, /// And the strong lance of justice hurtless breaks" (4.6.170-171) - Justice and Injustice

Techniques: Metaphor, symbolism, social criticism

Lear critiques a corrupt society where wealth shields the guilty. "Plate sin with gold" symbolizes how power distorts justice, while the "strong lance" shattering against wealth highlights its impotence. Shakespeare condemns the disparity between the rich and the poor in matters of justice.

"Through tattered clothes small vices do appear; /// Robes and furred gowns hide all" (4.6.158-159) - Justice and Injustice

Techniques: Juxtaposition, imagery, social commentary

Lear contrasts the treatment of the poor and the rich, exposing systemic injustice. "Tattered clothes" and "robes and furred gowns" symbolize class divisions, reinforcing how society punishes the weak while excusing the powerful. This insight, gained through suffering, reveals the play’s critique of legal hypocrisy.

"The gods are just, and of our pleasant vices /// Make instruments to plague us" (5.3.171-172) - justice and Injustice

Techniques: Irony, divine justice, foreshadowing

Edgar suggests divine justice ensures retribution for sin. However, the irony is that innocent characters also suffer, questioning whether justice truly prevails. The phrase "pleasant vices" implies humans unknowingly create their own downfall, reinforcing the play’s tragic inevitability.

"Is this the promised end?" (5.3.264) - Justice and Injustice

Techniques: Rhetorical question, biblical allusion, ambiguity

Kent’s question evokes apocalyptic imagery, linking Lear’s downfall to divine punishment. "Promised end" alludes to the Last Judgment, yet its ambiguity leaves justice unresolved—does divine will ordain suffering, or is the world inherently cruel? Shakespeare leaves this question open.

"See how yond justice rails upon yond simple thief. Hark, in thine ear: change places, and handy-dandy, which is the justice, which is the thief?" (4.6.153-156) - Justice and Injustice

Techniques: Irony, satire, role reversal

Lear mocks the arbitrary nature of justice, exposing its dependence on power rather than morality. "Change places" suggests that legal authority is interchangeable with criminality, reinforcing the theme of hypocrisy. The satirical tone condemns societal injustice, showing how power distorts moral judgment.

“I’ll tell thee thou dost evil” (1.1.124) - Sight and Blindness

Techniques: Direct address, foreshadowing

Lear’s blind arrogance leads him to misjudge Goneril’s true intentions. His claim that others “do evil” reflects his lack of self-awareness, a foreshadowing of his own blindness to reality. His inability to see beyond superficiality sets the stage for his tragic fall.

“So out went the candle, and we were left darkling.” (1.4.230-231) -Blindness

Techniques: Metaphor, imagery, foreshadowing

The metaphor of a candle being extinguished represents the loss of wisdom and power. “Darkling” evokes an image of confusion and blindness, foreshadowing both Lear’s descent into madness and Gloucester’s literal loss of sight. This moment marks the growing chaos in the play.

“The prince of darkness is a gentleman.” (3.4.140) - Sight and Blindness

Techniques: Irony, allusion

Edgar, disguised as Poor Tom, ironically presents the devil as courteous, exposing Lear’s blindness to deception. The biblical allusion to Satan suggests Lear’s failure to recognize the true evil in Goneril and Regan, reinforcing the theme of misplaced trust and tragic misjudgement.

“I have no way, and therefore want no eyes; I stumbled when I saw.” (4.1.19-20) - Sight and Blindness

Techniques: Paradox, metaphor, dramatic irony

Gloucester’s paradoxical statement highlights the contrast between physical sight and insight. When he had eyes, he was blind to Edmund’s betrayal, but now that he is literally blind, he sees the truth. This moment of tragic self-awareness underscores Shakespeare’s critique of perception and wisdom.

“Thou must be patient. We came crying hither: Thou know’st the first time that we smell the air, We wawl and cry.” (4.6.180-182) - Blindness

Techniques: Juxtaposition, allusion

Lear’s blindness to the cruelty around him is reflected in his naivety when discussing human suffering. Lear’s reflection on human suffering shows his growing awareness of life’s cruelty. The juxtaposition of birth and suffering suggests that blindness to hardship is part of human nature. His insight comes too late, reinforcing the play’s tragic structure and Lear’s irreversible fall.

“Blow, winds, and crack your cheeks! Rage! Blow!” (3.2.1) - Nature and the Natural Order

Techniques: Imperative, personification

Lear’s violent command to the storm mirrors his own inner turmoil, defying the natural order in an attempt to exert control over his fate. The storm becomes a reflection of Lear’s mental state, symbolizing the collapse of the established natural hierarchy and order.

“Nothing will come of nothing.” (1.1.90) -Nature and the Natural Order

Techniques: Aphorism, foreshadowing

Lear’s dismissal of Cordelia’s refusal to flatter him is both an assertion of his authority and a prophecy of his downfall. His belief that love and loyalty must be expressed in material terms reveals his disconnection from natural relationships, resulting in the disintegration of family and social order.

“As flies to wanton boys are we to the gods. They kill us for their sport.” (4.1.36-37) -Nature and the Natural Order

Techniques: Simile, nihilism

Gloucester’s despair reflects the chaotic breakdown of the natural order, where human suffering seems meaningless. The simile evokes the helplessness of humanity in the face of divine capriciousness, showing how Lear’s world has become disconnected from any sense of moral or cosmic order.

“The wheel is come full circle: I am here.” (5.3.180) - Nature and the Natural Order

Techniques: Metaphor, irony

Edmund’s statement about the "wheel" is an ironic acknowledgment of fate and the natural order. His rise to power and subsequent fall reflect the cyclical nature of life and justice, highlighting the inevitable restoration of the natural order, even if it results in his death.

“Thou art a boil, ///A plague sore, an embossed carbuncle /// In my corrupted blood.” (4.6.76-78) -Nature and the Natural Order

Techniques: Metaphor, imagery

Lear uses vivid metaphors to describe the evil he perceives in his enemies, comparing them to disease and infection. By referring to his own blood as “corrupted,” Lear implies that the natural order of both his body and his kingdom has been tainted. These images suggest not only physical decay but also the moral and social chaos that has overtaken his reign, reflecting the collapse of natural and divine order.

"How sharper than a serpent's tooth it is /// To have a thankless child!" (1.4.283-284)- Love and Loyalty

Techniques: Metaphor, symbolism

Lear uses the metaphor of a "serpent's tooth" to express the acute pain of betrayal by his ungrateful daughter, Goneril. The serpent is a symbol of evil and deceit, highlighting Lear's emotional torment. The imagery conveys the brutal impact of disloyalty on a father’s psyche.

"I loved her most, and thought to set my rest /// On her kind nursery." (1.1.78-79) - Love and Loyalty

Techniques: Repetition, irony

Lear’s declaration of his love for Cordelia demonstrates the depth of his affection, but it is undercut by his rash decision to disinherit her. The repetition of "love" emphasizes his genuine feelings, but his actions contradict these emotions, revealing the tragic consequences of superficial judgment.

“This is the excellent foppery of the world, that when we are sick in fortune, /// Often the surfeit of our own behavior.” (4.6.56-57) - Love and Loyalty

Techniques: Irony, rhetorical questioning

Edmund ironically points out that people often fail to see how their own actions, especially disloyalty, cause their downfall. "Sick in fortune" symbolizes moral decay, and “surfeit” suggests excess, reflecting Edmund’s role in the chaos. His rhetorical questioning emphasizes his belief that fate, not personal responsibility, dictates outcomes.

"Never, never, never, never, never!" (5.3.309) - Love and Loyalty

Techniques: Repetition, anaphora

Lear's final cry as he holds Cordelia’s lifeless body encapsulates the depth of his grief and remorse. The repetition of "never" signifies an irreversible loss, emphasizing the tragic irony that his loyalty to Cordelia was only fully realized in her death.

“When we are born, we cry that we are come /// To this great stage of fools.” (4.6.181-182) - Love and Loyalty

Techniques: Metaphor, existential reflection

The metaphor of life as a "stage of fools" represents Lear’s disillusionment with human nature and loyalty. He reflects on the inherent futility of life, where loyalty is often betrayed, and love becomes corrupted. This existential recognition deepens Lear’s tragic wisdom at the end of the play.

"Blow, winds, and crack your cheeks! Rage! Blow!" (3.2.1) - Chaos vs. Order

Techniques: Imperative, personification

Lear’s command to the storm symbolizes his internal chaos, as he rages against both nature and his loss of power. The personification of the wind enhances the sense of uncontrollable fury, representing Lear’s growing disarray and his rejection of the established order.

"I’ll do such things— /// What they are, yet I know not: but they shall be /// The terrors of the earth!" (2.4.281-283) - Chaos vs. Order

Techniques: Foreshadowing, ambiguity

Lear’s cryptic statement foreshadows the descent into madness that will disrupt the natural and political order. The ambiguity of "such things" reflects the unpredictable violence of Lear’s unravelling, signalling the collapse of rationality and social harmony.

“Tis the time’s plague when madmen lead the blind.” (4.1.38) - Chaos vs. Order

Techniques: Metaphor, irony

The metaphor highlights the inversion of natural order, where those in power are irrational and incapable of guiding others. The irony is palpable as Lear, once a king, descends into madness, while his daughters, devoid of wisdom, control the kingdom—exemplifying chaos.

4. “The wheel is come full circle: I am here.” (5.3.182) - Chaos vs. Order

Techniques: Metaphor, circular imagery

Edmund’s metaphor of the "wheel" suggests the cyclical nature of fate, where events come full circle but not in a way that restores order. The phrase implies that Edmund’s rise to power and his eventual downfall are part of a natural, inevitable cycle. However, his words reflect a world in chaos rather than order, where the restoration of justice and balance is still far from realization.

“No, no, no life! /// Why should a dog, a horse, a rat have life, /// And thou no breath at all?” (5.3.309-311) - Chaos vs. Order

Techniques: Rhetorical questioning, juxtaposition

Lear’s frantic questioning highlights the disorder and injustice in the world. By comparing his dead daughter Cordelia to animals, Lear protests the apparent randomness and cruelty of life and death. His despair emphasizes the collapse of natural and cosmic order, as he struggles to understand why his loved ones suffer while other life forms persist. This marks the ultimate moment of chaos before the tragic conclusion.

“When we are born, we cry that we are come /// To this great stage of fools.” (4.6.174-175) - Fate vs. Free Will

Techniques: Metaphor, imagery, allusion

Lear reflects on life as a stage, suggesting the inevitability of suffering and fate. The metaphor of “stage” portrays life as a performance, where humans have little control, aligning with the theme of fate over free will. Lear’s lament highlights the tragic acceptance of human helplessness.

“Nothing will come of nothing.” (1.1.90) - Fate vs. Free Will

Techniques: Repetition, aphorism, paradox

Lear’s dismissal of Cordelia’s love reflects his belief in a transactional world, where effort must yield rewards. The repetition of “nothing” emphasizes the harshness of his worldview. Ironically, this very statement undermines his ability to understand true loyalty, showcasing his misunderstanding of free will and fate.

“As flies to wanton boys are we to the gods; /// They kill us for their sport.” (4.1.37-38) - Fate vs. Free Will

Techniques: Simile, allusion, imagery

Gloucester likens humans to flies, subject to cruel whims of the gods, implying that fate is indifferent and arbitrary. The vivid imagery reinforces the helplessness of humans in the face of fate, positioning people as powerless under divine control, which contrasts with free will.

“I am a man more sinned against than sinning.” (3.2.60) - Fate vs. Free Will

Techniques: Paradox, dramatic irony, rhetorical appeal

Lear’s claim reveals his belief that fate has wronged him more than his own actions. The paradox contrasts with his earlier decisions, showing how he disowns responsibility and shifts blame to fate. This evokes sympathy while highlighting Lear’s refusal to acknowledge his free will in his downfall.

“How sharper than a serpent’s tooth it is /// To have a thankless child!” (1.4.285-286) - Fate vs. Free Will

Techniques: Metaphor, imagery, hyperbole

Lear’s hyperbolic comparison of Goneril’s ingratitude to a serpent’s bite reveals his frustration with the unpredictability of his children’s behavior. The metaphor underscores Lear's belief that he has no control over fate, as he is at the mercy of others' actions and is powerless in determining their love or loyalty.

“The prince of darkness is a gentleman.” - Appearance vs. Reality

Techniques: Irony, allusion, paradox

Edgar’s line highlights the deceptive nature of appearances, where evil is cloaked in civility. The allusion to the devil contrasts with the reality of Gloucester’s perception of his son, showing how deception can mask true intentions and create a false sense of security.

“I am a man /// More sinned against than sinning.” (3.2.60) - Appearance vs. Reality

Techniques: Irony, self-deception, paradox

Lear’s self-pity distorts the reality of his situation. He cannot see that his actions contributed to his downfall, instead choosing to believe he is the victim of an unjust fate. The paradox exposes his inability to distinguish between appearance (his perception of innocence) and the reality (his own guilt).

“Nothing will come of nothing.” (1.1.90) - Appearance vs. Reality

Techniques: Aphorism, foreshadowing

Lear’s belief that Cordelia’s love must be tangible sets the stage for the false appearances in the play. He views love as transactional, creating a façade of understanding while dismissing deeper emotional truths. His inability to see beyond appearances leads to his tragic misjudgment of Cordelia.

“See better, Lear; and let me still remain /// The true blank of thine eye.” (1.1.179-180) - Appearance vs. Reality

Techniques: Irony, metaphor, foreshadowing

Kent’s plea for Lear to “see better” is both literal and figurative. Kent recognizes that Lear’s poor judgment in seeing through appearances leads to his downfall. The metaphor of being the “true blank” hints at the forthcoming loss of vision and clarity, showing how Lear’s blindness to reality creates his own suffering.

“Thou art a boil, a plague sore, an embossed carbuncle /// In my corrupted blood.” (4.6.66-67) - Appearance vs. Reality

Techniques: Imagery, metaphor, hyperbole

Lear’s description of Goneril reflects the distorted reality he faces—she is now a physical manifestation of corruption. The vivid imagery portrays her as a blemish on his existence, symbolizing the gap between his idealized vision of family and the painful truth of her betrayal. The metaphor critiques Lear’s inability to see his daughters' true nature until it’s too late.