"Flowers Of Evil" In Shakespeare's King Lear

This thesis deals with the theme of evil in Shakespeare's King Lear in the light of Freudianism, Feminism and Machiavellianism. The title is inspired by Baudelaire's Flowers of evil. It has three layers of meaning: first, it refers to the evil characters such as Goneril, Regan and Edmund who break the traditional bondage of morality; second, it related to the evil desires and evil impulses of the characters who cling to traditional values, such as Lear and Gloucester; third, it is concerned with human's irrevocable evil fate in a world indifferent to human beings' welfare.Evil is antithesis of good, but it is also pregnant with good; without evil, good becomes void, meaningless and insubstantial. Evil elements are indispensible in tragedy, for tragedy is about the battle of good against evil, which is launched either in the macrocosmic universe or microcosmic universe, that is, the world outside human's heart or the world inside human's heart.Shakespeare's depiction of evil in King Lear is unique because evil in his writing is not totally horrible, but touching and sympathetic. It is hidden, mysterious and dangerous, like "a serpent under an innocent flower". Thus the anti- traditional "evil" characters in King Lear are repugnant to us with their horrible evil and fill our heart with fear and terror, but at the same time, they attract us with their rationality, intelligence and animosity; while the traditional "good" characters with their evil desires and tortured soul, appear to us more life-like and more humane than those larger-than-life heroes. These characters become alive in Shakespeare's play—they are passionate, impulsive and long for love, warmth and security. Human's evil fate not only brings to them the agonizing awareness of life's pain and suffering, but also makes them fulfill their search for value of life, knowledge and unique individuality. In confronting the irrevocable evil fate, they display their patience, courage and indomitable spirit.Chapter 1 is about the evil sisters—Goneril and Regan. In the light of Freudian theory and feminism, I argue that they are more victims than evil. They are first victims of a patriarchal family. In a society which considers women to be obedient daughter and wife, their efforts to hold on and strengthen the power and their bold expression and pursuit of love are considered as transgression of their gender and hence they become evil.Chapter 2 is about male evil—Edmund, the illegitimate son of Gloucester. He is one of Shakespeare's round characters with various qualities. His illegitimate position makes him see the "plague of the custom". In rebelling against the custom which deprives him of the basic rights as a human being, he transcends the traditional morality and becomes satanic evil. In his unscrupulous pursuing power and position, he also becomes a Machiavellian hero. With his rebellious spirit, outstanding ability and supreme vigor, he attracts not only Goneril and Regan, but also our audience as a charming villain.Chapter 3 deals with the sin of Lear and Gloucester, two parallel characters whose fate match with each other. Lear is obsessed with his incestuous desire to Cordelia, which is expressed in his "darker purpose", while Gloucester is indulged in Adultery, which embodies in what he calls "good sport". Gloucester's unashamed and frivolous admission of his "good sport" sheds light on Lear's "darker purpose", which exists only in his unconsciousness. Their self-knowledge only comes after they have tasted life's bitterness and pain. Chapter 4 deals with human's evil fate, which is embodied in the word of "nothing". Nothing, according to Heidegger, is the veil of thing, hence part of reality. Following the cue, I try to argue that pain and suffering, just like nothing, are parts of our reality, hence parts of life. The three major characters in King Lear, after pain and suffering, all gain their transformation and blessings. Lear, after experiencing hellish pain and suffering in storm, at last reunites with his beloved daughter Cordelia. He dies in his imaginary heaven where he and Cordelia live together like "two birds". Gloucester suffers immensely in his blindness, yet he gains new insight into his self and the world. Edgar, who has been deprived of identity and reduced to an animal state, in his fighting against the evil elements of his life, he gains patience and courage. With his unconquered heart and unyielding spirit, he helps his father through pain and despair and triumphs over his villainous brother.Shakespeare, while displaying human's evil fate, also displays a time of reverse, turbulence and chaos. This is the time that daughters challenge father's authority and bastards want to "top the legitimate" (1.2.22), the time "when madmen lead the blind" (4.1.54), the time when the mad can "reason in madness" (4.6.176) and the blind gains vision in his blindness. Lear's dotage and corruptness symbolize the traditional morality which is on the decline, while Edmund, Goneril and Regan's challenge to tradition symbolizes a new order's challenge to the old order. The old order, although is declining, guarantees stability with its stress on family and social bond; the new older, with its stress on individual will, freedom, embodies rationality, efficiency and equality to some degree, but its jungle law tears open the affectionate veil between humans, and thus life becomes what Hobbes says "A war, where every man is Enemy to every man".The old order is restored under the leadership of Albany and Edgar. However, its major representative Lear dies in an ecstasy of illusion that his beloved daughter is still alive, leaving behind the world his curses and obsession. After the sea-change of ups and downs of fate and life, can the old order still be restored to its former glory?Life in Shakespeare's plays is as colorful and puzzling as life itself. With insubstantial creation of words, Shakespeare conveys to us substantial feelings of life's joy and sorrow. The eternal truth about humanity such as love, compassion, sympathy, tolerance... "dazzle gradually" to our "infirm Delight". "The castle in the air", like Heidegger's "veil of nonbeing" both reveals and conceals the enigmatic sphinx-like destiny of humanity.