scholarly journals Lear, Luke 17, and Looking for the Kingdom Within

Religions ◽  
2019 ◽  
Vol 10 (8) ◽  
pp. 456 ◽  
Author(s):  
Stelzer

The ending to Shakespeare’s Tragedy of King Lear has generated much debate. Performance history and critical interpretations of the conclusion of the Folio version of Lear have been pronouncedly divided into readings intimating the tragic hero’s redemption and readings averring his ultimately bleak condition, whether of delusion or despair. Recent attempts to describe Shakespeare’s use of scripture in this play have offered more nuance, acknowledging the play’s blending of pagan and Christian elements. While King Lear has extensively been compared to the book of Job and to apocalyptic passages in Revelation and Daniel, allusions to the gospel narratives and to Luke in particular raise the thorny question of Cordelia’s role as a Christ-figure. This essay argues that the ambiguous and suggestive nature of Lear’s final words (“Look there, look there!”) is both preserved and illuminated when read as an allusion to Jesus’ words in Luke 17:21. This previously unexplored allusion not only offers guidance for responding to Lear’s exhortation to “Look there” but also resonates within Shakespeare’s play through shared themes of apocalypse, kingdom, sight/insight, and the importance of the heart.

2015 ◽  
Vol 31 (4) ◽  
pp. 359-371 ◽  
Author(s):  
Yair Lipshitz

Comparisons between King Lear and the biblical Book of Job have become commonplace in scholarship. This paper traces the impact of the Lear–Job connection on the staging and reception of Shakespeare’s play in Hebrew theatre. Due to this connection, King Lear was put within the orbit of a central cultural endeavour for Zionism: the re-appropriation of the Hebrew Bible for the formation of a new national identity. In the mid-twentieth century, the play appealed to directors who searched for Hebrew ‘biblical’ theatre, and a web of intertextual allusions in the press tied Shakespeare’s tragedy to the Book of Job and to rabbinic interpretations of it. However, the equivocal position held by Job within the Zionist imagination undermined the place of King Lear as well. Ultimately, the two were intertwined in the politics of their reception in Hebrew theatre. Yair Lipshitz is a Senior Lecturer at the Department of Theatre Arts in Tel Aviv University. In his research, he explores the various intersections between theatre, performance, and Jewish religious traditions. He is the author of two books in Hebrew: The Holy Tongue, Comedy’s Version (Bar Ilan University Press, 2010) and Embodied Tradition: Theatrical Performances of Jewish Texts (forthcoming).


Author(s):  
Thea Buckley ◽  

In his 2014 Malayalam-language film Iyobinte Pusthakam (The Book of Job), Amal Neerad combines this Biblical fable with The Brothers Karamazov and King Lear to illustrate generational tensions in a divided South Indian family on a colonial tea plantation. Patriarch Job perpetuates colonial evils, including anti-tribal pogroms and sandalwood smuggling. Here, Job disinherits his youngest son Aloshy (a conflated Edmund+Cordelia figure) upon discovering his Communist sympathies. Through such Shakespearean dilemmas, Neerad’s film raises ethical questions regarding caste, race, politics and environment. Ultimately, familial and societal transgressions reflect pivotal times of national division and transformation, during the era of India’s colonisation, Partition and Independence.


Author(s):  
William Shakespeare
Keyword(s):  

1972 ◽  
Vol 25 (3) ◽  
pp. 41-48
Author(s):  
William Johnson
Keyword(s):  

1985 ◽  
Vol 9 (2) ◽  
pp. 83-101
Author(s):  
Gary Schmidgall
Keyword(s):  

Sign in / Sign up

Export Citation Format

Share Document