Shakespeare Quotes: More sinned against than sinning Intro I'm King Lear. I'm an old-timer who's pretty naïve when it comes to who my children really are. I'm a bit gullible and trusting like that, but I've got a temper when I'm provoked. And you know what I think? Let the great gods, That keep this dreadful pother o'er our heads, Find out their enemies now. Tremble, thou wretch, That hast within thee undivulged crimes, Unwhipp'd of justice: hide thee, thou bloody hand; Thou perjured, and thou similar man of virtue That art incestuous: caitiff, to pieces shake, That under covert and convenient seeming Hast practiced on man's life: close pent-up guilts, Rive your concealing continents, and cry These dreadful summoners grace. I am a man More sinn'd against than sinning. (3.2.49-60) Who Said It and Where You might think King Lear is powerful, being a king and all. Well, think again, Shmoopers. You have been duped.

By the time we get to this quote, he's got no power and hardly any friends to speak of. He's literally on a heath in the middle of a thunderstorm yelling at the sky: "Blow winds and crack your cheeks! Rage, blow!" It's pretty bad. He doesn't even want to go inside where it's warm and cozy. He'd rather be pissed, cold, and alone. How did he get there? It all started when he comes up with the brilliant idea that he can hand over the hard work of ruling the kingdom to his children and relax. He wants to enjoy the power of still being king without any of the responsibility. As it turns out, that's Lear's first mistake: separating power and responsibility. His two eldest daughters are ready to run their own lives—and their own kingdoms. They resent Lear acting as if he is still in charge. He did promise to give up power, after all. Yet the King is shocked when his daughters assert their independence from him because he gave them everything they have. How rude . At this point, a light bulb goes off in Lear's head. He realizes that his daughters, Goneril and Regan don't love him as much as they said they did.

In fact, Goneril and Regan don't love him at all. What does Lear do in response? Why, he runs out into a storm and wanders around on the heath, of course. (Goneril and Regan go "Ha!" and lock the door behind him.) So there he is on the heath, yelling at the winds and rain about life and all its misery. His personal, stand-up comedian, the Fool begs him to find shelter, but the King refuses; he would rather face the relentless elements than his ungrateful children. Ouch. Then his buddy Kent shows up and tells Lear he has to find shelter. Lear keeps trying to drown out the thunder with his condemnation of the world's crimes. "I am a man more sinned against than sinning," Lear cries out. Finally, Kent manages to maneuver him towards a hovel that will provide some shelter against the rain. Phew. 'A man more sinned against than sinning'. Is this your reading of Shakespeare's King Lear? - GCSE English - Marked by Teachers.com 'A man more sinned against than sinning'. Is this your reading of Shakespeare's King Lear? Extracts from this document...

Introduction 'A man more sinned against than sinning'. Is this your reading of Shakespeare's King Lear? Shakespeare is not primarily concerned with motives; he is more interested in the effects of characters' decisions and natures. In Kind Lear, he focuses on the tragic consequences of two fathers' actions, and how events shape their characters. During the course of the play, the others characters also change and grow; some are good and become better, others are bad and become more depraved. Lear and Gloucester are exceptions. Neither is good or bad in a straightforward way. Lear's characterisation is particularly complex. He is not a tragic hero with a simple flaw that causes his downfall. Not is his growth a simple movement from ignorance to knowledge. When he emerges from his madness, Lear may have learned a great deal, but doubts remain as to the depth of his understanding. He is infuriating in Act 1 Scene 1, becoming increasingly sympathetic as he suffers himself. As suggested above, Lear is a complex tragic hero, who excites a variety or responses. Watching his disastrous acts of Act 1 Scene 1, it is not hard to feel that Lear deserves punishment for his folly. ...read more.

Middle He learns to distinguish between appearances and reality and considers the sufferings of those close to him. Lear also becomes much more self-critical. He emerges from his torment a more humble, loving and attractive character. This way of thinking certainly gives the impression that Lear is indeed 'a man more sinned against than sinning'. However, it can also be thought that Lear remains self-obsessed and vengeful. His philosophical enquiries on the heath are punctuated by thoughts of punishing Goneril and Regan. Again and again he returns to the crimes committed against him. He struggles to accept responsibility for his elder daughters' cruel natures and never fully acknowledges the folly of his actions in Act 1 Scene 1. However, towards the end of the play, it becomes difficult to remain too critical of Lear. His reconciliation with Cordelia shows the best of Lear. Ashamed of his former unkindness, he humbles himself before his youngest daughter, acknowledging her superiority. We can forgive him now focusing on the way he has been abused. At the end of the play Lear seems to move beyond himself. He has certainly accepted his powerless, diminished status and now sees himself primarily as Cordelia's father. ...read more.

Conclusion In this readers opinion, Lear's only sin is his original one; namely that where he banishes Cordelia after her brutal honesty. Lear is then on a slippery slope of cause and effect. He was the cause, and everything else that happens in the play is the effect. Nobody could have foreseen the immanent downfall which his original sin leads to. Once this point of view has been adopted, it is impossible to see Lear as the true perpetrator in this spiral of destruction. It is difficult to imagine disharmony in the kingdom if for example, Cordelia had indeed 'heaved her heart into her mouth'. So, to conclude, although Lear was the initial cause of sin in the play, the actions of others; such as Goneril and Regan to name but two. The wheel has been given a push in Act 1 Scene 1, and the initial force was too great. It carried on turning, and Lear was at the bottom when is came crashing round. Lear loses everything; his kingdom, his Fool, his three daughters and his own life. ' Come not between the dragon and his wrath.' Unfortunately, the wrath was too strong for even the dragon himself. ' Adam Draper Lear - Sinned or Sinning?

Mr Lempriere 31st October English 6AM2 ...read more. The above preview is unformatted text This student written piece of work is one of many that can be found in our GCSE King Lear section. Found what you're looking for? Start learning 29% faster today 150,000+ documents available Is Shylock More Sinned Against Than Sinning Free Essays Is Shylock More Sinned Against Than Sinning Is Shylock more sinned against than sinning? Many different views can... be taken on the Jewish merchant Shylock in the play ‘The Merchant of Venice’ written by William Shakespeare. Although when taking into account the many trials and tribulations that Shylock had to endure, it is forthcoming to say that Shylock was more sinned against than sinning. There are key and defining moments in this play when it becomes more apparent as to why Shylock is acting out against Antonio. From early on when Antonio...

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and crossing each other from a million different centers of energy and daring those ripples build a current that can sweep down the mightiest walls of oppression and resistance.” In Shakespeare’s Merchant of Venice, Shylock is the core of all ripples. He lashed out against the prejudice that was thrust upon him and is considered evil for doing so. The Merchant... Antonio, Jewish Christians, Portia 1034 Words | 3 Pages Was Shylock A Victim Or A Villain late sixteenth century play "˜The Merchant of Venice', one of Shakespeare's more popular comedies, is one that is portraying various peoples... lives throughout Venice and Belmont. During the course of the play there is a concentration of thoughts and emotions towards the character Shylock, a Jewish usurer, this is the very character that we shall be concentrating the question in the title on. In most scenes the character Shylock has to deal with a lot of racial discrimination, which has at modern times... Antisemitism, Antonio, Jews 1703 Words | 4 Pages Shylock: Villain or victim? us wonder many times while reading the Merchant Of Venice. Is Shylock really a victim or a villain?

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He is quite a peculiar character and his role in the story is indefinite because he has traits of both a villain and a victim. A villain is ‘a wicked person or criminal’... The Merchant of Venice 1759 Words | 3 Pages The Character of Shylock in Merchant of Venice The Character of Shylock in Merchant of Venice Few characters created by Shakespeare embodies pure evil like the character of... Shylock in The Merchant of Venice. Shylock is a usurer and a malevolent, blood-thirsty old man consumed with plotting the downfall of his enemies. He is a malignant, vengeful character, consumed with venomous malice1; a picture of callous, unmitigated villainy, deaf to every appeal of humanity2. Shylock is the antagonist opposite the naive, essentially good Antonio... Antonio, Portia, Shylock 1482 Words | 4 Pages Shakespeare's Merchant of Venice Essay, Is Shylock a Victim or Villain? Grade a present both Shylock as both victim and villain? Throughout the play, ‘The Merchant of Venice’, Shylock reveals many...

personalities; therefore making him such an emotionally complex and detailed character that shows elements of being both a victim and villain; and to come to my decision to whether Shylock is either of the two, other characters language towards him and his reactions will perceive different ideas from different era’s in time to determine my answer. The first time Shylock is introduced... Antisemitism, Elizabethan era, Jews 1878 Words | 5 Pages How does Shakespeare compare and contrast the characters of Antonio and Shylock in the trial scene? Shakespeare portrays the characters Shylock and Antonio in the trial scene to be victims of the trial scene. In my opinion,... Shylock is the main victim as he is discriminated for following a different religion to everyone else in the court. Being a Jew meant that the other people in the court were racist against Shylock meaning that they treated him unfairly in comparison to Antonio; who was helped in every way so that he could win the trial and Shylock would not get his pound of flesh. Shakespeare...

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In The merchant of Venice by William Shakespeare, shylock, the money lending Jew, is seen more like a villain then a victim. Shylock is a villain because he cares more about his money then he cares about his daughter, he is not merciful towards shylock and hewants a pound of flesh from Antonio for hi revenge. First of all shylock is a villain... 901 Words | 3 Pages Merchant of Venice Shylock Analysis Essay ...the lot of others, or strikes out against injustice, he sends forth a tiny ripple of hope... and crossing each other from a million different centers of energy and daring those ripples build a current that can sweep down the mightiest walls of oppression and resistance.” In Shakespeare’s Merchant of Venice, Shylock is the core of all ripples. He lashed out against the prejudice that was thrust upon him and is considered... 1034 Words | 3 Pages The Character of Shylock in Merchant of Venice Essay ...The Character of Shylock in Merchant of Venice Few characters created by Shakespeare embodies pure evil like the character of Shylock in The Merchant of Venice.

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Shylock is portrayed as both a victim and a villain... 1306 Words | 3 Pages Merchant of Venice Shylock Essay ...Shylock: Villain or Victim It is without doubt that William Shakespeare’s suspenseful play of The Merchant of Venice evokes complex feelings within a reader. Throughout the play, Shylock is portrayed as the antagonist, a miserable, cruel and prosaic figure menacing enough to endanger the happiness of Venetian citizens. At the same time, one feels a curious compassion for this character. In the 2004 film of The Merchant... 772 Words | 3 Pages Shylock a Victim ...play, The Merchant of Venice, Shakespeare uses his great skill in writing to make a character appear as if he is both a villain and a victim. A victim can be defined as an unfortunate person who suffers from a destructive action or through the dishonesty of others. Although Shylock is viewed by Christians in the play as a cruel man, Shylock is a victim because he is mistreated, betrayed and his possessions, culture and dignity are taken... 1108 Words | 4 Pages What's It All About, Shakespeare?: Who Are Shakespeare’s Tragic Heroes?

| Men More Sinned Against Than Sinning Monday, 13 February 2012 Who Are Shakespeare’s Tragic Heroes? | Men More Sinned Against Than Sinning Shakespeare’s tragedies are among the most popular and frequently performed plays in the world, making his tragic heroes some of the most recognised characters. Shakespeare Gives Us Some of The Finest Examples of Tragic Heroes King Lear’s claim that he is “a man more sinn’d against than sinning” can be debated. After all, his ferocious temper and bad judgement are what lead him to running around the stormy British countryside in the nude. And the same can be said of most Shakespearean tragic heroes - not that they run around nude, but that they are, at least in part, responsible for their own downfalls. Whether they are, in fact, more sinned against than sinning really rather depends upon your point of view. What’s a Tragic Hero? However, a traditional, and by that I mean Aristotelian, view of tragic heroes is that they are, without doubt, more sinned against. Aristotle believed that tragic heroes had to be essentially ‘good’ guys.

Not saintly, because then an audience would not be able to relate to him. But, he certainly couldn’t be a ‘baddie’, because a tragic hero is never deserving of his fate. If he were, we wouldn’t feel sorry for him. And in this mix of not too good, and not too bad, there is the tragic flaw or hamartia, as Aristotle would call it. This innate character trait is the chink in a tragic hero’s armour, his Achilles heel; it is what makes his fall from grace inevitable. Hamartia, which is now used to refer to any tragic flaw, is a little problematic if used in the way Aristotle intended it to be used, however, because, for Aristotle, it meant a flaw which caused an accidental or unforseen act of horror. Let’s use Aristotle’s favourite tragic hero and poster boy, as an example: Oedipus never intends to kill his father and marry his mother, those are completely unforseen events that occur due to his tragic flaw, which is hubris. How Are Shakespeare’s Tragic Boys Different? When it comes to some of Shakespeare’s tragic heroes, it’s difficult to define their hideous deeds as accidental.

Macbeth, for example, doesn’t say, “oops my ambition killed Duncan.” And for Othello, Desdemona’s death cannot be described as an unforseen consequence of his smothering her. Although, I suppose you could argue that he mistakenly thought he was murdering an unfaithful hussy - so that’s where the ‘accident’ comes in. Anyway, without further ado, let’s look at Shakespeare’s tragic heroes; who they are, what they do and why they’re ‘tragic’. Anthony Hopkins as The Fatally Flawed Titus (1999) Titus: Titus Andronicus was Shakespeare first tragedy (at least the first one we know of). Titus begins the play as a well-respected and recently victorious general in the Roman army. Hamartia -Lack of interpersonal skills and a distinct lack of sympathy. Titus makes two catastrophic errors at the beginning of the play, both caused by the character flaws above: First, he refuses to become emperor (even though the people want him to take the crown) and then he kills Tamora’s sons as a sacrifice. What follows is a cycle of revenge and one of Shakespeare’s bloodiest plays.

Romeo: The romantic hero of Romeo and Juliet is a young man with a bright future at the beginning of the play. Hamartia - An impetuous nature, which leads to rash action In almost everything he does, including falling in love, Romeo is a jump-straight-in kind of guy. His inability to be able to test the water level leads him to fall head over heels for Juliet, murder Tybalt and then commit suicide. Caesar: Julius Caesar is unusual among his fellow tragic heroes, because he is murdered at the start of act three, meaning he spends very little time on stage. Although, Caesar is the play’s ‘official’ tragic hero, it could be argued that Anthony and Brutus are also tragic heroes. Hamartia - Hubris Whether Caesar is ambitious, as the conspirators claim, is a subject that could be debated. However, it cannot be denied that he has great pride, which he masks with false humility in turning down the crown, and is demonstrated in his unwillingness to listen to the warnings of the soothsayer and his wife, Calpurnia.

Sarah Bernhardt as The Procrastinating Prince Hamlet (Circa 1880) Hamlet: Perhaps the most famous example of a Shakespearean tragic hero, Hamlet is the young prince of Denmark whose uncle has killed his father, married his mother and usurped the throne. Hamartia - Indecisiveness and procrastination In an attempt to avenge his father’s murder, Hamlet feigns madness. However, when he has the opportunity to kill his uncle, Claudius, he falters. In fact, he spends huge swathes of the play soliloquising about his indecision; “ to be or not to be ” being just one example. When he does act, he gets it wrong by accidentally killing Polonius. In the end, the play culminates in a bloodbath; the deaths of eight of its dramatis personae.

Othello: Despite rampant racism in Venice, Othello has risen to the rank of general and has won the heart of Desdemona, who elopes with him Hamartia - Blind trust in the wrong person For me, it’s far too simplistic to say that Othello’s fatal flaw is jealousy, partly because jealousy springs from other things, such as low self-esteem (which could be a result of the racism he’s faced, rather than an innate character trait). He simply places all his trust in the wrong man, a man with whom he fought with and, therefore, had to trust with his life - so it’s an understandable mistake. Lear: King Lear is among Shakespeare’s most complicated tragedies, partly because there are so many sub-plots, which support the main action between Lear and his daughters. Hamartia - Misjudgement, fierce temper and blindness To be more specific, he places appearance (shows of affection or “the name and all the additions to a king”) over genuine loyalty and reality. Whereas Gloucester is made literally blind, Lear is blind to his faults and the deception of his elder daughters. As mentioned briefly above, how much of Lear’s downfall is his own doing can be debated.

It would be fascinating to know more about the background of the characters, specifically the childhoods of the sisters - what kind of father has Lear been? Unfortunately, Shakespeare leaves this to our imaginations. However, it is something explored in the Japanese/French re-telling of King Lear, entitled Ran. Edwin Forrest as The Regicidal Scotsman Macbeth (Before 1872) Macbeth: Yes, on the face of it, Macbeth might seem more of a villain than a hero, but the regicidal Scotsman is, indeed, one of Shakespeare’s finest tragic hero. Hamartia: Ambition and hubris When Macbeth is first met by the witches, he’s already ambitious. After he discovers that one of their prophecies has come true, he’s determined to get his backside on the Scottish throne. Of course, later, when the witches tell Macbeth that “none of woman born shall harm Macbeth,” he begins to think he’s immortal. Ambition and hubris prove to be a rather nasty cocktail. Antony: There are many who argue that Antony and Cleopatra isn’t really a tragedy per se, because both characters are passive participants in their downfalls.

However, just because it’s not a traditional tragedy doesn’t make it any less interesting. Hamartia - Worldliness What do I mean by that? Simply, a love for the finer things in life; good food, wine, art, the pleasures of physical love and, more importantly, a desperation to cling on to those things no matter what the consequences. And, of course, although I’m referring specifically to Antony as a tragic hero, this equally applies to Cleopatra. Timon: Timon of Athens is another difficult play to categorise definitively, because it often seems more like a philosophical work or political satire than a tragedy, but, of course, it is possible to be all of those things. Hamartia - An excess of emotions Whatever Timon feels, he feels strongly, whether that is joy, love for his friends, generosity, anger or hate. He wants to be loved as much as he loves others. However, they take advantage of him and his strong positive emotions are swiftly exchanged for negative ones.

Act V, Scene iii of Coriolanus Illustrated by Gavin Hamilton (1803) Coriolanus: Shakespeare’s last tragedy (that we know of) was Coriolanus, another Roman romp, which is an examination of the democratic system and the pitfalls of popular rule. Hamartia - A lack of enlightened leadership Just like Titus, Coriolanus is a great warrior, who has been incredibly successful on the battlefield. However, that success does not translate into wisdom in civil leadership. Many would state that there is hubris involved in Coriolanus’ character and may even claim that this is his fatal flaw. While there is no doubt that Coriolanus has a great deal of pride, in my opinion, this does not have any effect upon his fall from grace. But what do you think? Posted by

Question: Which character in Shakespeare "was more sinned against than sinning"?
Answer: KING LEAR