AP Seminar King Lear: Introduction

1. AP Seminar King Lear: Introduction

2. Shakespeare’s Language • Yes, Shakespeare’s language is considered Modern English! • His diction is difficult to understand because • Some of his words are no longer used. • Some of his words have changed in meaning. • His sentences are unique in that • The verb often precedes the subject (e.g., goes he rather than he goes). • The subject often is placed between two parts of a verb phrase (e.g., he does go rather than go he does). • The object often precedes the subject and verb (e.g., I hit him rather than him I hit). • Sometimes the verb precedes the subject and the object precedes the subject and verb: “Such unconstant stars are we like[ly] to have from him” (I.ii.347-348). • Sometimes words that are normally together are separated. • Sometimes basic sentence elements are held back until subordinate material is presented. • Sometimes words are omitted. • Shakespeare’s unique syntax helps to • Maintain the rhythm (usually iambic pentameter). • Heighten the emotional intensity of the scene. • Pay close attention to Shakespeare’s use of prose and poetry. Who speaks in prose? When? What is its effect? Who speaks in poetry? When? What is its effect? • At times, it is helpful to rearrange the words in sentences.

3. Important Literary Terms and Concepts • Archetype: An archetype is a basic model, a prototype, a paradigm, an exemplar; an archetype is atavistic (a throwback) and universal; it is a product of the “collective unconscious.” • Imagery and Symbolism: • Nature • Eclipses • Storms • Paradox: A seemingly contradictory statement, which upon further analysis makes sense; that which sounds impossible but is actually possible; a side-by-side play on contradictory ideas that clash and reconcile simultaneously. • The paradox of blindness! • The paradox of the fool! • Pun: A pun is a play on words, which Shakespeare uses quite frequently. • Stichomythic dialogue (stichomythia) and antilabe: Alternating individual lines of verse between two speakers. • Motifs and Themes • Tone • Tragedy • Tragic Hero • Tragic Flaw • Hamartia

4. Archetypes

5. Motifs and Themes • Motif: a recurring element (e.g., object, idea, character type, or theme) or contrasting elements in a work of literature that helps to illuminate theme. • Theme: a common, recurring topic seen throughout a literary work; or a prominent and oftentimes abstract idea in a literary work. • When asked to explore how a motif (e.g., a Bar Mitzvah, a Bat Mitzvah, or a Quinceañera) helps to illuminate a theme, make sure to identify a prominent idea (e.g., empathy, not age, equals maturity) in addition to a common, recurring topic (e.g., coming of age). • Example • Motif : • Ultima and Tenorio • Compassionate, benevolent daughter (Cordelia) and scheming, malevolent daughters (Goneril and Regan) • Loyal son (Edgar) and a scheming, Machiavellian son (Edmund) • Theme (Topic): Good vs. Evil; Loyalty vs. Betrayal • Theme (Prominent Idea): For good to truly triumph over evil, we must learn to forgive those who perform evil deeds.

6. Tragedy • An action of great magnitude is at the center of the plot. • Pathos (that which evokes pity or sympathy) is an essential element of the play. • The plot is carefully sequenced, moving from the complication to the unraveling or denouement. • Complication (i.e., the rising action): Prologue to turning point (i.e., crisis or climax) • Unraveling or denouement (i.e., the falling action): Turning point (i.e., crisis or climax) to the resolution • Complicated plots involve reversal (peripeteia), which is a sudden change or reversal of circumstance or fortune, and recognition (anagnorisis), which is a change from ignorance to knowledge. • A catastrophe occurs, which usually spirals outward: not only does the tragic hero suffer, but his family also suffers, thus producing pathos (great sorrow and pity, which evokes empathy). • A catharsis occurs, which is a purification or purging of emotions, a spiritual renewal.

7. Tragic Hero • He is elevated to a high status and position in society, and he possesses noble stature and greatness. • While he embodies nobility and virtue, he is flawed. • His downfall or demise is due in part to freewill, an error in judgment (i.e., hamartia) associated with a tragic flaw (e.g., hubris). • His downfall or demise is due in part to fate. • His misfortune is not wholly deserved; the punishment exceeds the crime. • He gains awareness, insight, and self-knowledge as a result of his fall from grace.

9. Dialectical Journal • Four observations and interpretations per entry (15 total entries): • Language (poetry, prose, puns, stichomythia, etc.) • Nature imagery and symbolism, including references to human nature • Irony and paradox • Parallel plots • Elements of tragedy (tragic flaw, hamartia, peripeteia, anagnorisis, catastrophe, pathos, catharsis) • Connections to Oedipus Rex • Summary of each Act • Three vocabulary words from each Act