English 30-1 In-class critical response: King Lear by William Shakespeare --- 60.5/70 86% 17.2/20 EVALUATION OF CONTENT 33/40 Thought and Understanding How effectively does the writer's response address the assigned question? How sound and insightful are the writer's observations? 16/20 Supporting Evidence How apt, ample, and precise are the writer's references to elements of the text? 17/20 EVALUATION OF ORGANIZATION (Form) 10/10 How effectively is the discussion introduced? Is a strong thesis clearly established? 3/3 How clearly, coherently, and economically does the discussion move forward? 4/4 How effectively is the discussion concluded? 3/3 EVALUATION OF STYLE CHOICES (Form) 9/10 Is the writer's tone appropriate to the response's purpose and audience? How appropriate are the writer's style choices in the context of critical response? 2/2 How skilfully has the writer managed diction and syntax choices? Are the writer's phrases coherent, varied, and robust? 7/8 EVALUATION OF WRITING SKILLS (Form) 8.5/10 How correctly has the writer used the conventions of written English?

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Self Perception and Changes in Perspective As a kaleidoscope to light are we to the world, our view is ever shifting. From one position to

another, our perspective is constantly morphing, changing to better see ourselves and our effect on the world around us. Yet, we often become stuck in one position; the light bends in one way obstructing our view from the infinite patterns and colours that we could see, if only we could shift slightly. How do we learn to move once we've been stuck in one position for so long? How are we able to clean off the smears obstructing our vision? How are we able to shift our perspective in order to most clearly and truly see ourselves and our impact on humanity? Shakespeare's King Lear toys with changes in perspective for each of its characters. We often feel as though their kaleidoscope is being shifted for them, and that they must personally adjust to this new way of viewing the world. Yet, a commonality between each character that undergoes such a shift is the requirement to strip down to a most pure form in order to see him or herself most clearly. Similarly, a perspective without obstruction from outside influence produces a true outlook on the world around us. Shakespeare's King Lear develops the idea that a change in perspective occurs most strongly when self perception is altered by stripping down and cleaning off to produce a pure form of self.

Two characters in King Lear come into the action with previously developed pure self

perceptions: Kent and Cordelia. They provide the reader with a model of how several other characters should be once they have undergone a shift in perspective. Kent recognizes Lear's obstructed vision immediately, he notes that Lear must "see better… and still remain the true blank of [his] eye." Kent is blank; he is able to see himself from a translucent standpoint, and is consequently able to see others, especially Lear, for what they truly are: stuck in a single perspective, blinded. Cordelia too, is able to see her own true self, for her vision is not clouded by a false self perception. Cordelia understands her own limitations, is true to herself, and notes that she loves her father according to her bond, no more, no less. Lear is completely insulted by this and feels an enormous blow to his pride. Yet, he does not understand that Cordelia is the truest of his daughters, for she is providing him with the complete truth, not simple flatterers' lies such as those speeches given by his two eldest daughters. As the action progresses and Lear's self perception shifts, he begins to realize this and is able to reconcile with Cordelia once more. Kent and Cordelia see themselves, and consequently the world, through clear eyes. They stand as illuminated role models for which Lear and other characters must mould themselves.

Though most examples of obstructions of vision commonly take on the form of dirty, dark clouds,

we often do not realize when positive outlooks serve as blinding forces. Edgar was once blinded by his positive outlook on the world. He so strongly believed in the goodness of mankind that he could not see the evil working around him, threatening to ruin him. This optimism became a splotch of dirt on his kaleidoscope; he too was stuck in one position, unable to truly see himself, and the world around him. Edgar was forced out of his home, into the cold, harsh world and was demanded to strip down to the worst form of man, insane and beggarly. Yet, from this darkness did emerge light. Edgar was forced to un-stick himself from his blinded state and was able to see that he was not exempt from evil's influences. He was able to clear off this blockage and see the evil working to break him, and was therefore able to summon the courage from inside which was needed to vanquish it. Edgar is stripped and broken down "by treason's tooth, bare-gnawn and canker-bit," yet from this newfound state of purity, he is able to "produce a champion that will prove what is avouched here." As he was uncovered and exposed to his most pure form, Edgar shed the obstructions to his vision, his self perception shifted, as did his view of the world.

The image of Edgar's exposed state became a turning point in Lear's shift in perspective. This

image of a naked man brought down to a state of desperate survival cleared Lear's vision of nearly every obstruction of which he had not even been able to acknowledge, previously. The most prominent smear of dirt on Lear's kaleidoscope - and that which was most difficult to clear off - was his pride. His status as king, his power, his beautiful daughters, had all contributed to his distorted self image. He, as powerful men often do, lifted himself on to a pedestal, above ordinary man into an almost godlike state. Predictably, with this rise, came a further distance to fall and an impact more likely to shatter. For his truest state to be

found, for his clearest vision to be present, Lear had to lose everything of which he was proud. "Off, off you lendings." Everything that he had acquired, everything that he had borrowed, with which he did not come into this world was stripped, peeled, broken down and shattered. In his most simple form, Lear was able to see himself with a clarity that can be envied by any person on earth. He realized that he is nothing more than a man; nothing more than a simple, ungodly human that can have no divine influence on the world. He could simply do what he could to provide the happiest living possible for anyone for which he was responsible.

Is this not ultimate power? This is the knowledge that humans are just that: human. Nothing more,

nothing less. We have the power to be the guides of our own lives; we can shift our own kaleidoscopes whenever we wish. We have the power to strip all obstructions from our vision and see ourselves with in our most pure form, what we truly are: human. We have the power to realize any dream of which we are physically capable. We can shift, bend and shape that light into something beautiful; into something that gives us power, hope, and happiness. Perhaps there is nothing more true than such knowledge.

Edits: Introductory paragraph

As a kaleidoscope to light are we to the world, our view is ever shifting. From one position to another, our perspective is constantly morphing, changing, helping us to better see ourselves and our effect on the world around us. Yet, we often become stuck in one position; sometimes the light bends in one way, obstructing our view, eclipsing from the infinite patterns and colours that we could we might otherwise see. , if If only, in such cases, we could shift, even slightly. How But how do we learn to move—and more than just slightly—once we've been stuck too long in one position for so long? How And how are we able to clean off the smears obstructing on our vision lenses? How are we able to shift our perspective in order to most clearly and truly see ourselves and our impact on humanity others? Shakespeare's In King Lear Shakespeare toys with changes in perspective for each of its his characters. We Here we often feel as though their kaleidoscopes' is wheels are being shifted turned for them without their foreknowledge or consent, and that they must personally radically adjust to this new and alarming way of viewings of the world. Yet Moreover, a commonality between common requirement of each character that who would undergoes such a shift is the requirement to that he strip down to a his most pure form in order to see himself or herself most clearly.

Theopeningsentenceisacomma‐splicedconstruction.Tocorrectthefault,youmightuseasemi‐colon.

Asakaleidoscopetolightarewetotheworld;ourviewisevershifting.

Oryoucancastthetwoindependentclausesasseparatesentences.

Asakaleidoscopetolightarewetotheworld.Ourviewisevershifting.

Oryoucanrephrase,addingaconjunctiontoconnectthetwoclauses.

Asakaleidoscopetolightarewetotheworld,forourviewisevershifting.

Yourcontrollingimagefortheessay,thatofthekaleidoscope,iseffective,butit'sabitconfusing.Thefirstclauseoftheopeningsentencesuggeststhathumansaretobethoughtofastheimagethatappearsattheendofthetube,theworldbeingthelightthatmakesournaturesandbehavioursapparent(whichinitselfisconfusing).Butthesecondclausesuggeststhattheimageinthekaleidoscopeistheworldashumansviewit.Judgingbyyourlaterusesofthemetaphor,Ithinkyoumeantosaythattheworld(thoughofcourse"theworld"includesourbehavioursinit)istheimageseeninthekaleidoscope.Ifthat'strue,thenyouropeningsentencemightinsteadbeasimplyexpressedmetaphor:"Theworldisakaleidoscope."Oraslightlymorelyricallycastmetaphor:"Theworldcomestousakaleidoscope."Or(asinyouroriginalconstruction)asimile:"Wereadtheworldaswereadthetransformationsseeninakaleidoscope."

Addingtheverb"eclipsing"improvestherhythmofthissentence.That'sonereasonforinsertingithere.Butit'salsoagoodwordtouse(betterthan,say,blockingorhidingorobscuring)becauseitsubtlypreparesyourreaderforadiscussionofKingLear,whichplaysbothontheideaofthwartedlight(i.e.blindness)andtheideaofunusualoccurrencesintheheavens.(RecallthattheimageofasolareclipseisthevisualmetaphorusedintheopeningtitlesoftheIanHolmversionofKingLear.)

Italicizingtheverb"see,"toindicateemphasis,isquestionable.Ifthestressshouldfallanywhere,itseemstome,itshouldfallontheseen—"ourselves"—ratherthanontheactionofseeing.Thatorthestressshouldfallequallyontheseeingandtheseen,inwhichcasenoitalicsshouldbeusedatall.

Theconjunctionyetordinarilysignalstheintroductionofadetailthatcontradicts,orwouldseemtocontradict,apointthathasjustbeenmade.Inthiscase,thepointaboutcharactersstrippingdownisnotacontradictionoftheideathatthecharactersmustadjusttonewviewsoftheworld.Rather,itisanaddition.

Giventhatthecharacterswhodothestrippingdown—Kent(superficially),Edgar,andLear(bothsignificantly)—areallmale,youneedn'tusethetandempronouns"himorherself."

Thewheelattheendofakaleidoscope,whichoneturnstomaketheimagechange,caninthiscontextserveasatouchtotheimageoffortune'swheel—thatancientmetaphorfortragedyandtheordinarychangeshumansexperiencethroughoutlife.

Similarly, a perspective without obstruction from outside influence produces a true outlook on the world around us. Indeed we might say that this is the most powerful idea regarding changes in perspective that Shakespeare's develops in King Lear develops the idea that a change in perspective—namely that occurs most strongly when true self-perception and true growth is altered by stripping down and cleaning off to produce a pure form of self occur only after one is stripped down to his most essential self—when he becomes "the thing itself," the "unaccommodated man." If you think you might like to develop this essay, you may find useful the note on nakedness that we looked at in class. Here it is again:

English 30-1 On clothing and nakedness (applicable to King Lear) We choose and wear our identities, just as we choose and wear our clothes. That is to say, we clothe ourselves in the attitudes and behaviors of the cultures or sub-cultures with which we associate. And if we say that we put on our social identities at the beginning of the day and remove them at day's end, then we may say also that clothing (or disguise) belongs to the Apollonian consciousness of sunlight and community, while nakedness belongs to the Dionysian unconsciousness of moonlight and solitude. We can compare these myth concepts with the myth of Adam and Eve, who, having eaten of the Tree of the Knowledge of Good and Evil and emerging into the "curse of consciousness," learn that they are naked and rush to cover themselves. But their nakedness, and our own, one might argue, is symbolically the most essential identity. And ironically, it is the identity many of us are most afraid of. We cannot bear to be naked, partly because our view of our own bodies so seldom accords society's view of the ideal body, which, as it turns out, is a body that does not even exist. We feel ourselves always falling short of an alleged perfection. Our self-esteem is continually being assaulted. To salvage our broken integrity, then, we don the acceptable alter-identities afforded us by society, palpably in the form of clothes. What we often fail to see, however, is that society cannot provide any but the most superficial of identities, mere fashions. The conclusion that this reasoning forces on us is that we must be able to accept first our naked selves as they are in their irreducible truth. Accepting our nakedness is metaphorically accepting our true selves.

Thispoint(whichisofferedinprecedingmaterialanyway)provesadistractionhere.Themoreimportantideatoexpressunclutteredistheideaofstrippingdown.Andasitis,theideaofstrippingdownalreadyimpliestheconcomitantideaofaperspectivewithoutobstruction.Forthisreason,yourfirstbodyparagraph,whichdealswiththeunobstructedvisionsofCordeliaandKent,doesnotreadasofftopic.Rather,itstandsasanaturalpreambleforthesecondandthirdbodyparagraphs,whichfocuspointedlyonthe"strippingdown"motif.

Ifyouchoosetodevelopthisessay(storingitinmemoryforpossibleuseinthediplomaexam)thiswouldbeastrongthesiswithwhichtowork—thatis,thatstrippingdownisanecessaryprecursortoself‐awarenessandheroicgrowth—butthatthesisworkedintowhatevertopicyouaregiven(anditwouldn'tnecessarilybe"self‐perception").KingLear,ofcourse,containsseveralreferencestoparingawayexcesses,totheactionofwhittlingsomethingdowntonothingforthesakeofbuildingupsomethingnewandbetter.Andit'sanideathatI'veseldomseendevelopedinstudentessaysontheplay,eventhoughit'sakeymotifinthework.Soyou'dbeimpressingcertainmarkerswithwhatwouldprobablyappeartothemasanovelandinsightfulreadingofShakespeare'stext.

---'S REVISION

As a kaleidoscope to light are we to the world, our view is ever shifting. From one position to another, our perspective is constantly morphing, changing, helping us to better see ourselves and our effect on the world around us. Yet, we often become stuck in one position; sometimes the light bends in one way, obstructing our view, eclipsing the infinite patterns and colors we might otherwise see. If only, in such cases we could shift, even slightly. But how do we learn to move – and more than just slightly – once we’ve been stuck too long in one position? And how are we to clean off the smears on our lenses. How are we to truly see ourselves and our impact on others? In King Lear, Shakespeare toys with changes in perspective for many of his characters. Here, we often feel as though their kaleidoscopes’ wheels are being turned for them without their foreknowledge or consent, and that they must radically adjust to new and alarming views of the world. Moreover, a common requirement of each character who would undergo such a shift is that he strip down to his most pure form, clearing off those smudges on his lens, thus producing an unobstructed, pure form of himself. Indeed we might say that this is the most powerful ideas regarding changes in perspective that Shakespeare develops in King Lear – namely that true self-perception and true growth occur only after one is stripped down to his most essential self – when he becomes “the thing itself,” the unaccommodated man.”

Two characters in Shakespeare’s King Lear come into the action with pure self perceptions,

requiring no major shift in perspective: Kent and Cordelia. They provide the reader with a model of how several other characters will be molded once they have undergone a such a shift. Kent recognizes Lear’s obstructed vision immediately, he notes that Lear must “see better… and still remain the true blank of [his] eye.” Kent is blank; he is able to see himself from a translucent, ever-shifting standpoint, and is consequently able to see others, especially Lear, for what they truly are: stuck in a single perspective, blinded. Cordelia too, is able to see her own true self, for her vision is not clouded by a false self view. She understands her own limitations, is true to herself, and notes that she loves her father according to her bond, no more, no less. Lear is completely insulted by this and feels an enormous blow to his hubris, his pride. Yet, he does not understand that Cordelia is the truest of his daughters, for she is providing him with the complete truth, not simple flatterers’ lies such as those speeches given by his two eldest daughters. As the action progresses and Lear’s self perception shifts, he begins to realize this and is able to reconcile with Cordelia once more. Kent and Cordelia see themselves, and consequently the world, through clear eyes. They stand as illuminated role models for which Lear and other characters must mould themselves.

As we are stuck in one position and therefore one perspective, it is often easy to imagine a

villainous hand holding us there, as if we are trapped in the clutches of a negative worldly outlook, unable to see the light through the darkness. Yet, a cynical world view that prevents us from appreciating the optimisms of life can be equally as dangerous as its opposite. We often do not realize when a positive outlook serves as a blinding force. Shakespeare’s Edgar was once a victim of such blindness. He so strongly trusted the goodness of mankind that he was blind to the evil working around him, threatening to destroy his integrity. The legitimate Edgar’s base, bastard brother, Edmund, was manipulating all those around him, working them like puppets in an attempt to “top the legitimate,” and to gain widespread respect. Edmund exploited Edgar’s optimism, using it to gain control over his brother; yet, Edgar remained stuck in that same position, unable to see Edmund’s dark side, for it was hidden by the blinding glare of the light. Edgar was forced out of his home, into the cold, harsh world and was demanded to strip down to the worst form of man, insane and beggarly. His optimistic world view was tested, beaten, and broken down, leaving him with nothing but pain and a veil of shadows. Yet, from this darkness did emerge a light from within. Edgar was forced to un-stick himself from his blinded position and became aware that he is not exempt from evil’s influences. From this knowledge did emerge the inner courage he needed to vanquish this evil. Edgar is stripped and broken down “by treason’s tooth, bare-gnawn and canker-bit,” yet from this newfound state of purity, he is able to “produce a champion that will prove what is avouched here.” As he was uncovered and exposed down to his most pure form, Edgar shed the obstructions to his vision, his self perception was altered, and consequently, he experienced a shift in perspective.

The image of Edgar’s exposed state became a turning point in King Lear’s personal shift in

perspective. This figure of a naked man brought down to a state of desperate survival cleared Lear’s vision of nearly every obstruction of which he had not previously acknowledged. The most prominent smear of

dirt on Lear’s kaleidoscope - and that which was most difficult to clear off - was his hubris. His status as king, his power, his beautiful daughters, had all contributed to his distorted self image. He, as powerful men often do, lifted himself on to a pedestal, above ordinary man into an almost godlike state. Predictably, with this rise, came a further distance to fall and an impact more likely to shatter. For his truest state to be found, for his clearest vision to be present, Lear had to lose everything of which he was proud. “Off, off you lendings.” Everything that he had acquired, everything that he had borrowed, with which he did not come into this world was stripped, peeled, broken down and shattered. In his most simple form, Lear was able to see himself with a clarity that can be envied by any person on earth. He realized that he is nothing more than a man; nothing more than a simple, ungodly human that can have no divine influence on the world. He could simply do what he could to provide the happiest living possible for anyone for which he was responsible. Lear exposed his true, pure identity and as a result, he was able to shift his perspective to discover his place in the world, and within his family.

Is this not ultimate power? This is the knowledge that humans are just that: human. Nothing more,

nothing less. We have the power to be the guides of our own lives; we can shift our own kaleidoscopes as we wish. We have the power to strip all obstructions from our vision and see ourselves with in our most pure form, what we truly are: human. We have the power to realize any dream of which we are physically capable. We can shift, bend and shape that light into something beautiful; into something that gives us power, hope, and happiness. Perhaps there is nothing more true than such knowledge. FURTHER EDITING

As a kaleidoscope to light are we to the world; our view is ever shifting. From one position to another, our perspective is constantly morphing, changing, helping us to better see ourselves and our effect on the world around us. Yet, we often become stuck in one position; sometimes the light bends in one way, obstructing our view, eclipsing the infinite patterns and colors we might otherwise see. If only, in such cases, we could shift, even slightly. But how do we learn to move—and more than just slightly—once we've been stuck too long in one position? And how are we to clean off the smears on our lenses. How are we to truly see ourselves and our impact on others? In King Lear, Shakespeare toys with changes in perspective for many of his characters. Here, we often feel as though their kaleidoscopes' wheels are being turned for them without their foreknowledge or consent, and that they must radically adjust to new and alarming views of the world. Moreover, a common requirement of each character who would undergo such a shift is that he strip down to his most pure form, clearing off those smudges on his lens, thus producing an unobstructed, pure form of himself. Indeed we might say that this is one of the most powerful ideas regarding changes in perspective that Shakespeare develops in King Lear—namely that true self-perception and true growth occur only after one is stripped down to his most essential self—when he becomes "the thing itself," the unaccommodated man."

Two characters in Shakespeare's King

Lear come into the action with pure self perceptions, requiring no major shift in perspective: Kent and Cordelia. They provide the reader with a model of how several other characters will be moulded once they have undergone such a shift. Kent recognizes Lear's obstructed vision immediately, he notes that Lear must "see better… and still remain the true blank of [his] eye." Kent is blank; he is able to see himself from a translucent, ever-shifting standpoint, and is consequently able to see others, especially Lear, for what they truly are: stuck in a single perspective, blinded. Cordelia, too, is able to see her own true self, for her vision

CommaspliceKentrecognizesLear'sobstructedvisionimmediately;henotesthatLearmustlearnto"seebetter."

Thisquotationismisapplied.The"seebetter"partisfine,butthe"stillremainthetrueblankof[his]eye"partisn't.Kent'suseof"theblank"isareferencetoarchery.Theblankisthewhitespotatthecenterofanarcher'starget.Kentusesitasametaphorforhimself,hebeingthetargetthatheasksLeartocontinuetokeepinhissight.HispleahereisareactiontoLear'searlierline"Outofmysight!"(thoughLearhasnotyetactuallybanishedKentfromthekingdom).Now,whileKentmaybe,asyounote,abletoseeothersclearly,hismetaphorof"theblank"doesnotsuggestthatfacultyofclearsightednessinhim.

is not clouded by a false self-view. She understands her own limitations, is true to herself, and notes declares quite rightly and unashamedly that she loves her father according to her bond, no more, no less "according to [her] bond, no more nor less." Lear is completely insulted by this and feels it as an enormous blow to his hubris, his pride. Yet, he does not understand that Cordelia is the truest of his daughters, for when she is providing tries to provide him with the complete simple truths, not simple rather than flatterers' lies unctuous flatteries, such as those speeches given by with which his two eldest daughters have basted him. As the action progresses and Lear's self-perception shifts, he begins to realize this and is able to reconcile with Cordelia once more. Kent and Cordelia see themselves, and consequently the world, through clear eyes. They stand as illuminated role models for according to which Lear and other characters indeed we must mould themselves may mould ourselves.

As we are stuck in one position and therefore one perspective, it is often easy to imagine a

villainous hand holding us there, as if we are were trapped in the clutches of a negative worldly outlook, unable to see the light through the darkness. Yet, a cynical world view that prevents us from appreciating the optimisms pleasures, the virtues, the blessings of life can may be equally as no more dangerous as than its opposite. We often do not realize when In fact, a relentlessly positive outlook serves can be equally as a blinding a force. Prior to the working out of Edmund's machinations, Shakespeare's Edgar was once is a victim of such blindness. He so strongly trusteds in what he sees as the inherent goodness of mankind that he was is blind to the evil working around him, threatening to destroy his integrity. The legitimate Edgar's base, bastard brother, Edmund, was is manipulating all those around him, working them like puppets in an attempt to "top the legitimate," and to gain widespread respect and power. Edmund, who sees that his brother's "nature is so far from doing harms / That he suspects none," exploiteds Edgar's optimism, using it to gain control over his brother him; yet, Edgar remaineds stuck in that same position, unable to see Edmund's dark side, for it was is hidden by the blinding glare of the light. Edgar was is thereby forced out of his home, into the cold, harsh world and was is demanded compelled to strip down to the worst form of man, insane and beggarly "the basest and . . . poorest shape / That ever penury in contempt of man brought near to beast." His optimistic world view was is tested, beaten, and broken down, leaving him with nothing but pain and a veil of shadows. Yet, from this darkness did emerges a light from within. Edgar was is forced to un-stick himself from his blinded position and becaomes aware that he is not exempt from evil's influences. From this knowledge did also emerges the inner courage he needed will need to vanquish this evil. Edgar is stripped and broken down "by treason's tooth, bare-gnawn and canker-bit," yet "; yet, from this newfound state of purity, he is able to "produce a champion" that will prove what is avouched here." to rise up out of his own abased self. As he was is uncovered and exposed down to his most pure form, Edgar sheds the obstructions to his vision, his self perception was is altered, and consequently he experienceds a shift in perspective.

The image of Edgar's exposed state became becomes in turn a turning point in King Lear's

personal shift in perspective. This figure of a naked man brought down to a state of desperate survival cleareds Lear's vision of nearly every the obstruction of which that he hads not previously acknowledged. The most prominent smear of dirt on Lear's kaleidoscope - and that which was most difficult to clear off -

Thewordhubriscannotbeusedasanexactsynonymforprideineverycase.Hubrisisthenegativeversionofpridethathastodowithself‐destructivearroganceandtheinabilitytorecognizethevalueofothers.Andyes,thisdescribesLear,butfromourperspective,nothis.Youruseofthewordprideinthissentenceisareferencetotheotherformofpride,thepositiveprideassociatedwithordinaryhealthfulself‐respect(asopposedtoinordinateself‐centerednessandself‐gratification).The"enormousblow"thatLearregistersistohissenseofself‐respect.Itisonlybyourinterpretationthathetakesitasan"enormousblow"becauseheisindeedahubristicman.Andwecansupposethatifheweren'tamanofhubris,hewouldnotbe"completelyinsulted"byCordelia'sdeclaration.

was —namely his hubris. His status as king, his power, his beautiful daughters, had all contributed to his distorted self-image. He, as powerful men often do, lifted himself onto a pedestal, above ordinary maen, into an up almost to a godlike state divine status. Predictably, with this rise, came a further distance to fall and an impact more likely to shatter the inevitable attendant shattering to follow. For his truest state to be found, for his clearest vision to be present achieved, Lear hads to lose everything of which he was has been most blindly, pointlessly proud. And this he indeed does, following the example of his new mentor, Poor Tom, and crying out, "Off, off you lendings!" Everything that he hads acquired, everything that he hads borrowed from the beasts, with which he did has not come into this world, was is stripped, peeled off, broken down, and shattered cast away. In his most simple form, Lear was is now able to see himself with a clarity that can be envied by any person on earth. He realizeds that he is nothing more than a man;, nothing more than a simple, ungodly human that can have no divine influence on the world. He could simply do what he could to provide the happiest living possible for anyone for which he was responsible. Lear exposed his true, pure identity and as a result, he was In this way, Lear is able to shift his perspective to discover himself and his place in the world and within his family.

Is this not ultimate power? This is the knowledge that humans are just that: human. Nothing more,

nothing less. We have the power to be the guides of our own lives; we can shift our own kaleidoscopes as we wish. We have the power to strip all obstructions from our vision and see ourselves with in our most purest form, what we truly are: human. We have the power to realize any dream of which we are physically capable. We can shift, bend ,and shape that light into something beautiful; , into something that gives us power self-knowledge, hope, and happiness. Perhaps there is nothing more true than such knowledge. REVISION

As a kaleidoscope to light are we to the world; our view is ever shifting. From one position to another, our perspective is constantly morphing, changing, helping us to better see ourselves and our effect on the world around us. Yet, we often become stuck in one position; sometimes the light bends in one way, obstructing our view, eclipsing the infinite patterns and colors we might otherwise see. If only, in such cases, we could shift, even slightly. But how do we learn to move—and more than just slightly—once we've been stuck too long in one position? And how are we to clean off the smears on our lenses. How are we to truly see ourselves and our impact on others? In King Lear, Shakespeare toys with changes in perspective for many of his characters. Here, we often feel as though their kaleidoscopes' wheels are being turned for them without their foreknowledge or consent, and that they must radically adjust to new and alarming views of the world. Moreover, a common requirement of each character who would undergo such a shift is that he strip down to his most pure form, clearing off those smudges on his lens, thus producing an unobstructed, pure form of himself. Indeed we might say that this is one of the most powerful ideas regarding changes in perspective that Shakespeare develops in King Lear—namely that true self-perception and true growth occur only after one is stripped down to his most essential self—when he becomes "the thing itself," the unaccommodated man."

Two characters in Shakespeare's King Lear come into the action with pure self-

perceptions, requiring no major shift in perspective: Kent and Cordelia. They provide the reader with a model of how several other characters will be moulded once they have

undergone such a shift. Kent recognizes Lear's obstructed vision immediately. He notes that Lear must "see better," that he must learn to know himself and others for what they truly are. Kent himself is not stuck in a single perspective, blinded. Cordelia, too, is able to see her own true self, for her vision is not clouded by a false self-view. She understands her own limitations, is true to herself, and declares quite rightly and unashamedly that she loves her father "according to [her] bond, no more nor less." Lear is completely insulted by this and feels it as an enormous blow to his dignity. Yet, he does not understand that Cordelia is the truest of his daughters when she tries to provide him with simple truths rather than unctuous flatteries, such as those with which his two eldest daughters have basted him. As the action progresses and Lear's self-perception shifts, he begins to realize this and is able to reconcile with Cordelia once more. Kent and Cordelia see themselves, and consequently the world, through clear eyes. They stand as illuminated role models according to which Lear and indeed we may mould ourselves.

As we are stuck in one position and therefore one perspective, it is often easy to

imagine a villainous hand holding us there, as if we were trapped in the clutches of a negative worldly outlook, unable to see the light through the darkness. Yet, a cynical world view that prevents us from appreciating the pleasures, the virtues, the blessings of life may be no more dangerous than its opposite. In fact, a relentlessly positive outlook can be equally as blinding a force. Prior to the working out of Edmund's machinations, Edgar is a victim of such blindness. He so strongly trusts in what he sees as the inherent goodness of mankind that he is blind to the evil working around him, threatening to destroy his integrity. The legitimate Edgar's base, bastard brother, Edmund, is manipulating all those around him, working them like puppets in an attempt to "top the legitimate," and to gain widespread respect and power. Edmund, who sees that his brother's "nature is so far from doing harms / That he suspects none," exploits Edgar's optimism, using it to gain control over him; yet, Edgar remains stuck in that same position, unable to see Edmund's dark side, for it is hidden by the blinding glare of the light. Edgar is thereby forced out of his home, into the cold, harsh world and is compelled to strip down to "the basest and . . . poorest shape / That ever penury in contempt of man brought near to beast." His optimistic world view is tested, beaten, and broken down, leaving him nothing but pain and a veil of shadows. Yet, from this darkness emerges a light from within. Edgar is forced to un-stick himself from his blinded position and becomes aware that he is not exempt from evil's influences. From this knowledge also emerges the courage he will need to vanquish this evil. Edgar is stripped and broken down "by treason's tooth, bare-gnawn and canker-bit" ; yet, from this newfound state of purity, he is able to "produce a champion" to rise up out of his own abased self. As he is uncovered and exposed down to his most pure form, Edgar sheds the obstructions to his vision, his self-perception is altered, and consequently he experiences a shift in perspective.

The image of Edgar's exposed state becomes in turn a turning point in King Lear's

shift in perspective. This figure of a naked man brought down to a state of desperate survival clears Lear's vision of the obstruction that he has not previously acknowledged—namely his hubris. His status as king, his power, his beautiful daughters, had all contributed to his distorted self-image. He, as powerful men often do, lifted himself onto

a pedestal, above ordinary men, up almost to a divine status. Predictably, with this rise, came a further distance to fall and the inevitable attendant shattering to follow. For his truest state to be found, his clearest vision to be achieved, Lear has to lose everything of which he has been most blindly, pointlessly proud. And this he indeed does, following the example of his new mentor, Poor Tom, and crying out, "Off, off you lendings!" Everything that he has acquired, has borrowed from the beasts, is peeled off, broken down, and cast away. In his most simple form, Lear is now able to see himself with clarity. He realizes that he is nothing more than a man, a simple, ungodly human that can have no divine influence on the world. In this way, Lear is able to shift his perspective to discover himself and his place in the world.

Is this not ultimate power? This is the knowledge that humans are just that:

human. Nothing more, nothing less. We have the power to be the guides of our own lives; we can shift our own kaleidoscopes as we wish. We have the power to strip all obstructions from our vision and see ourselves in our purest form. We have the power to realize any dream of which we are physically capable. We can shift, bend ,and shape light into something beautiful, into something that gives us self-knowledge, hope, and happiness. As I mentioned in class, this would be a good essay to "can"—to store in memory for use in the diploma exam. It could probably be made to fit whatever topic is given to you. And it's a strong essay, certainly. To make it stronger yet, I'd suggest that you dress it up a bit more—in particular, by incorporating commentary on Kent's "[razing his] likeness" (not a lot to say there, but it is a solid illustration of the "stripping down" motif) and by discussing Gloucester's abasement and subsequent illumination (which you might interweave in the paragraph on Lear). As well, you can afford to dwell a bit more on Lear's amazement at discovering the "poor naked [wretch]" Poor Tom. Finally, you might scatter throughout the essay a few more quotations related to the idea of humans being reduced to "nothing" and experiencing the world in their rawest, realest extremes. Hunt for such lines especially in Edgar's speeches, in Lear's storm lines, and in Gloucester's statements preceding his would-be suicide.