By S. L. Goldberg
Professor Goldberg deals a examining of King Lear that avoids the pitfall possible choices of idealism, moralism, absurdism, and redemptionist sentimentality. He sees the play as a problem to our sense of right and wrong and our want for a sense of usual justice, yet as undercutting all effortless solutions. That it doesn't let them is one among its details. The essay lines a constructing reaction to the complete of the motion because it proceeds, making no untimely judgments. It springs from a thought of feel of what a poetic drama is and the way it really works: particularly the way it offers 'character' and the way the perspectives of the characters relate to the complete goal of the play and the author's personal imaginative and prescient of existence. Many readers are inclined to imagine this the main passable test they've got but learn to do justice to this nice play; simply because Professor Goldberg responds to it with intelligence and sensitivity, simply because he doesn't impose a ready-made that means on it, and since he has thought of Shakespearean drama in a manner which makes this short booklet a special degree within the background of feedback because Bradley and Wilson Knight.
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To take one obvious example, they do not merely 'recognize3 or 'see5 the bond between them as though they had not seen it before. They were both very much aware of it earlier; but each of them, constraining his self, could acknowledge the bond he saw only as a constraint. Now, each of them, being able to face the vulnerability of his 'heart5, not only enables himself and the other to love freely, but at the same time is able to acknowledge the fact that the other does so. What they can admit in themselves, painful as it is to admit it, they can allow to exist as a per34 SIGHT, 'VISION5, AND ACTION ceptible, objective reality.
It is no wonder that many people see the play as finally only a terrible, even unbearable, negation. It is harder to see why it seems to others to exhibit some law, though not a specifically Christian one, and to achieve, perhaps thereby, a beauty that is not merely aesthetic. Nevertheless, whether he can answer it or not, this does seem the central question any critic of the play has to try to meet, and meet moreover from within the terms offered by the play itself. 33 2 Sight, Vision5, and action The reconciliation scene, I have suggested, shows in Lear more than a recognition of the facts, a recovery of 'sight5 from his earlier 'blindness5.
As she bends over her sleeping father, pity and love now do 'place thy medicine on my lips5. It is now she who imagines neighbouring, pitying, and relieving: Mine enemy's dog, Though he had bit me, should have stood that night Against my fire . . (iv, vii, 36-8) 28 THE OPENING TERMS and she is thinking of Lear, not of herself And it is now she who invokes the gods, in words that might - and perhaps should - have been said in the first scene, when Lear was 'child-changed' enough in another sense, if only she had been able not to abuse her own nature and say them: O you kind Gods, Cure this great breach in his abused nature!
An Essay on King Lear by S. L. Goldberg