" This omnipresent exhibition of superiority of a jester over his king could be punished; instead it is embraced. The fool talks to the king as though Lear was his fool: Fool: Dost thou know the difference, my boy, between a bitter fool and a sweet one? Lear: No, Lad, teach me. Lear joins in the game by allowing it and humors the Fool; which equates him with being the Fool's entertainer, and therefore the Fool's fool. Despite this twisted relationship, Lear also acts as the guardian of the Fool. In one scene, Goneril asks Oswald if her "father gentleman for chiding of his fool." (I, iii, 1.) Lear institutes physical violence to protect the precious fool; a severe act of rebuttal in response to a rather harmless admonition. However, Since only a madman or an evil person would think of striking or scolding the Fool, it may be assumed that Shakespeare wished to emphasize that Oswald and Goneril are of that nature. Lear sometimes threatens to hurt the Fool: "An you lie, sirrah, we"ll have you whipped." (I, iv, 172) but those threats are never manifested. This is also the first mention of the Fool in the play, which emphasizes his importance and favoritism from the king, as he obviously enjoys Lear's highest courtesy and protection. This is not the same relationship that exists between Kent and Lear. Although Kent also tells the brutal truth and is often less incisive, he is shunned and despised by Lear: "If on the tenth day following thy banished trunk be found in our dominions, the moment is thy death." (I, i, 178) This favoritism parallels that of Lear and his daughters, as though Goneril and Regan are Kent, and the fool Cordelia. The Fool is an extension of Cordelia, and she, an embodiment of the Fool. In her absence, the Fool acts in her role of child, and once she is returned, he is no longer present, so that she may fulfill her role appropriately. Lear exercises his paternal instincts on the Fool in Act III: "Come on, my boy.
The Fool is able to speak out against madness because of his function in Lear's court. ... The Fool functions quite admirably as a teacher throughout the play. The Fool uses cruel jokes to get his messages across. ... In the Fool we have someone who articulates our feelings. ... Also, a twist of irony certainly exists in the Fool calling the king a fool. ...
Shakespearian play King Lear presents a very interesting character that is called just as "the fool". ... Contradicting the real meaning of his title, the fool was not exactly a fool or mad person, actually he used to be very smart. ... Of course his function is to entertain the king - and the audience, as well -, but every joke he says to the king is full of sarcasm, as if he knew more than the king himself, although he really did, this is a kind of wit humor. Sometimes the fool even wants to show the king that he has committed a huge mistake dividing his kingdom the way he did, it is...
THE FOOL Fool n., a., & v. 1. ... LEAR: Dost thou call me fool, boy? ... So, it is clear that the fool is no mere clown. ... The fool guides Lear to an understanding of his own folly: FOOL: If thou wert my fool, Nuncle, I?... It must be clear that the primary purpose and function of the fool is to highlight the spiritual process and meaning of King Lear. ...
Rarely has there existed a fool of such vivacious and rudiment cruelty, practicality and unprecedented common sense as the fool of William Shakespeare's King Lear. This fool is blessed with a mellifluous voice of nonsensical reason, which he uses throughout the play as a function of perpetuating Lear's madness to the point of a complete metamorphosis and the conception of clarity of mind. ... I am a fool, thou art nothing." ... The Fool acts as a way to quantify the king's sanity. ... The fool talks to the king as though Lear was his fool: Fool: Dost thou know the difference...
He is a source of laughter, not because we are humoured by his "foolery"; for he proves to be no fool at all; but rather because he amuses us with his brilliant wit. ... He shows Olivia how unrealistic and excessive her mourning for her brother's death has been, he tells Orsino how foolish he is for languishing in a mood of love-sick melancholy for Olivia and points out how mercurial his personality is, and he makes a fool out of the pompous Malvolio. ... Thus, we see that the function of the fool is both serious and comic. It is a paradox aptly summed up by Viola when she says of Feste: ...
In a way, the Shakespearean Fool also plays a role in highlighting the theme of blindness and power. The Fool assumes the role of Lear's protector when he and Cordelia are banished. The Fool functions much as a Chorus would in a Greek tragedy, commenting upon events and the king's actions. The fool serves as a comedian for the king and in some ways, as the king's conscience. The Fool is, honest, loyal, and dedicated, but he is also able to point out the king's faults without fear of condemnation. ...
According to Aristotle all things have functions, and happiness is found when a thing can best fulfill its function. He states that for anything that has a characteristic activity (function), its good or excellence lies in that character activity. ... Aristotle then claims that only human beings engage in a certain kind of rational activity, in which the function of human beings is activity of soul in accordance with reason, or at least not a part from reason. ... For example, he states, "it is better to be a dissatisfied Socrates than a satisfied fool." ...
" The book set five basic functions of managing that Henri Fayol said were applicable in any type of industry. ... In his original book, Fayol had set forth five basic functions but authors later condensed these activities to four. ... Controlling is a management function that entails measuring established goals and objectives. ... In conclusion, Fayol's basic management functions provide a fool proof management process that can be applied in any type of industry to streamline its activities and help them reach their set goals and objectives....
