King Lear Essay Family Relationships

King Lear Essay Family Relationships-5
Coming closer to the paper on which was written, we also know that to have the characters tell their own story on a stage raises problems very distinct from those required for putting the story between the covers of a novel.It may seem that the distinction between manners of presenting a story is largely classificatory; yet stories are so locked artistically to those selected to tell them that great novels seldom remain great when they are strutted upon the stage, and vice versa.In only certain senses, then, does Shakespeare forever elude us and refuse to “abide our question,” for, if there are general problems confronting every writer, we should be able to ask questions that Shakespeare of all men made no attempt to elude.

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Particular manners of presentation are particular artistic problems, and particular artistic gifts are needed to solve these problems, and, if not, who are those who are both great novelists and great dramatists?

And, more particular still, who among dramatists wrote both great comedies and great tragedies, although tragedy is only drama that moves certain emotions in us?

As poetic writing is the representing or “making” of human experience, so the poet is the writer who possesses the powers and devices that transfer “life” from flesh to words.

These possessions of a poet are not merely a knowledge of “life”; Machiavelli knew much about successful and unsuccessful rulers and wrote , and the few who may are severely limited in freedom of thought, speech, and action.

What is here taken as ultimate in poetry is what is true of all good poems: they give a high order of distinctive pleasures, and it may be said summarily of high and distinctive pleasures that no man seems in danger of exceeding his allotment.

In a way a poet is untroubled about all this—about writing or writing poetry, for these are abstractions that cannot be engaged in, and he is trying to find the first or next word, and after “thick rotundity” he listens to “of” and is troubled, and then hears “o’ ” and so moves on to other troubles, leaving behind him “the thick rotundity o’ th’ world.” In a way, then, even in a long life a poet never writes poetry—just a few poems; and in this sense a poet’s problems do not begin until he closes in upon a piece of paper with something less abstract in mind than writing or writing poetry.

Intelligibility, too, has its levels of obligation, on the lowest of individual statements, and even on this level the obligation is never easy to fulfill and perhaps even to genius could be a nightmare if what the genius sought to represent was “madness.” Only to a limited degree, however, can individual statements be intelligible—and in many instances and for a variety of reasons the individual statements are meant to be obscure, as in “mad” speeches.

Since full intelligibility depends upon the relations of individual statement to individual statement, the concept of intelligibility, fully expanded, includes , for expository as well as imaginative writing should not be merely what the reader expected it would be—or why should it be written or read?

—and the unexpected should not be immediately and totally announced (in other words, expository and imaginative writing should have suspense), for, if the whole is immediately known, why should the writer or reader proceed farther?

But the accomplished writer gives his selected material more than shape—he gives it proper .


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