Miss Fortune (Lear Family Trilogy, Book 3)

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Edmund, meanwhile, uses his quick-wittedness to outsmart his father and brother, dominating the scenes in which they appear. When my dimensions are as well compact, My mind as generous, and my shape as true, As honest madam's issue? Edmund, however, tries to assert an alternative morality. Francis Bacon, the celebrated philosopher and statesman, wrote about the envious and often villainous nature of bastards in his Essays.

Usage terms Public Domain As Edmund is characterised by the language of bastardy, Goneril and Regan are associated with disease. The Machiavel uses his cunning to manipulate others and ensure that he gets what he wants, being driven entirely by self-interest. Edmund takes advantage of the credulous natures of both Gloucester and Edgar, and revels in the fact that he is able to do so. Significantly, Edmund is fully aware of his unscrupulous nature, and sees it not as a result of his illegitimacy but simply as who he is:.

Many feminist critics have explored the patriarchal society in which Goneril and Regan have grown up. Is it really so surprising that people who seem to have had little power in either the domestic or political spheres should behave inappropriately when power is given to them? A Marxist interpretation of Edmund would focus on the injustice of the laws of inheritance, and might also see his Machiavellian scheming as reflecting the fact that Edmund has only himself to rely on.

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A specialist in literary theory and pedagogy, she has written widely on the teaching of English Literature, curricular reform and the nature of disciplinary knowledge. The text in this article is available under the Creative Commons License. How does Shakespeare present Edmund, Goneril and Regan as villains? Both are quick to suggest how Gloucester should be punished for his supposed treachery: Regan Hang him instantly. Key quotations and language analysis All three of the villainous children in the play are characterised by their flair with language, in contrast with their less articulate siblings.

In the love-trial of Act 1, Scene 1, both Goneril and Regan make huge claims about their love for their father, claiming that it surpasses any other kind of happiness they can imagine: Goneril Sir, I love you more than [words] can wield the matter, Dearer than eyesight, space, and liberty, Beyond what can be valued, rich or rare, No less than life, with grace, health, beauty, honour; As much as child e'er lov'd, or father found; A love that makes breath poor, and speech unable: Beyond all manner of so much I love you.

Usage terms Public Domain. As Edmund is characterised by the language of bastardy, Goneril and Regan are associated with disease. Share this page. British Library newsletter Sign up to our newsletter Email. And broadcasting, which just another group of corporations now, certainly -- you know, the networks are the least part of the entities that own them. LEAR And the name of the game is the news must be a profit center, a big profit center. It didn't used to be when I came into television. And if the show isn't rating -- we gotta find the hit Tuesday night at at the expense of everything else.

Kathleen Turner, do you watch much television? I find that the -- I'm not very interested in the network shows. I find like most major studio films now incredibly predictable, as though I knew the line before they say it. It's formulaic to me now. Are they not, Norman Lear? LEAR Extraordinary. I -- it would take a lifetime to watch all that's good.

SMITH Well, their fake news makes the best commentary on the real news that exists on television today. SMITH Are there -- but going back to your earlier point, are there dramas or comedies now that you watch that you like, that you think are And I ache to watch them all. I tell myself that I will have the complete sets at some point. I was so angry I thought I was going to break the television. It just infuriated me. I haven't been able to turn it on again.

And, Norman Lear, it rings true to you for that era? LEAR Oh, absolutely. As a matter of fact, if that was , we are only at now. SMITH I have another clip here and this is from the show that you, Norman Lear, did, "Maude," a very, very big hit that broke some new ground at the time on the issues of abortion and other things. This is from and it's the first season, a two-parter, "Maude's Dilemma. And Maude's daughter Carol in this segment argues for the procedure.

You know it, I know it, Walter knows it. Mother, I don't understand your hesitancy. When they made it a law you were for it. My saying this to you, we're free. We finally have the right to decide what we can do with our own body. Then would you please get yours into the kitchen? It's a simple operation now. But when you were growing up, it was illegal and it was dangerous and it was sinister. And you've never gotten over that. Now you tell me that's not true.

And you're right, I've never gotten over it. When you were young, abortion was a dirty word. It's not anymore. Now you think about that. LEAR You know, on that show people don't remember -- and this was a suggestion of the network 'cause we had great fights about this, obviously they didn't want it on at all -- but a lovely man, William Tankersley sp? And there -- Maude had a friend, we hadn't seen her before or since, who had five children and was pregnant and would no more think -- and was poor, but -- you know, broke. She could not afford this sixth child, but she could no more think of ending that pregnancy than, you know, anything.

LEAR And she went on and had the -- but understood her friend, who at age 50 and under her circumstances and so forth, knew the child she might birth would not have a reasonable life.

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And they both understood each other, which I thought was the heart and is today the heart of understanding. And so much of what we're fighting today is really more an issue of women's healthcare than simply abortion. I mean, we certainly must hold on to a woman's right to choose whatever medical procedure she wants for her body.

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But most of the attacks nowadays are aimed not just at abortion but truly at women's healthcare and, you know, our overall health system for women. I think we open August 28 and run through October You know, she was so politically savvy and so practical and so funny that I want to introduce this commons sense liberalism, yes, to anyone I can before the elections, so there.

And she wrote and performed Ann, the story of Ann Richards. And so there's something of a little trend here to Texas women, strong Texas women. I know. I didn't know she was doing that and she didn't know I was working on Molly. It just sort of happened at the same time. SMITH Norman Lear, when you look at the different issues that you raised in television programs that you wrote and produced over the years, and if you were to do one now, is there an issue that would jump out at you that you'd want to get at?

It's about your generation and mine, Kathleen's generation, your generation. I'm assuming we're a three -- any over 55 up to , , people in retirement, the elderly. And ask me the title. LEAR Guess who died? And I love it. A number of people that related to networks and cable networks and so forth have loved it. Nobody will put it on. LEAR It's still an 18 to 39 prejudice -- a demographic prejudice, despite the fact that our numbers increase all the time.

We probably have the most expendable incomes and we have talent galore. And what drove you to that and what drives you now? TURNER Well, I think essentially I was brought up by parents who believe very firmly that it is our job -- everyone's job to be aware of other people's needs, and those who are more fortunate to be able to help others in less fortunate situations.

And so that was always an element of my upbringing.

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When I was 11 I was volunteering in Caracas, Venezuela at an orthopedic hospital, you know, this sort of thing once a week. TURNER So it's a natural progression for me but now as I have so much wonderful exposure through my body of work, through my time, you know, of the work that I have done as an actress, I've gotten such a wide range of opportunities to meet people and situations.

It only makes it more imperative to me to be involved with issues I believe in. You're listening to "The Diane Rehm Show. Find us on Facebook or send us a Tweet. The theater today, I'd ask both of you this, is in a very tough economic climate. And I wonder how you see it today as something that is breaking new ground or trying to stand pat? LEAR The question motivates me to give you an answer that is directly related to the question but I think more and more that when the world saves itself -- and it requires saving, and I'm not talking in a religious sense -- the door will be opened by the arts.

And the politicians and the policies and so forth will follow, music, painting, architecture, theater. And the best example I know of a gift to sanity in our time is the Book of Norman running now. LEAR And usually successful, but it is an absolute gift to sanity, although percent comedy. TURNER Yeah, something I've never quite been able to understand, when this country started to say that it wasn't important to teach civics anymore, you know, the responsibilities and the rights of being a citizen, that the arts were unnecessary, that this was all luxury that could not be afforded.

What I don't understand from this thinking is that what we have from previous cultures that preceded us are the arts. We have the writings, we have the paintings, we have the architecture, we have the music. This is what survives in a civilization. And this is what we should be responsible for passing on.

LEAR And the man who Governor Romney has chosen to advise him on judicial appointments is Robert Bork who has said of the Civil Rights Act that it was unsurpassed ugliness and has said of the First Amendment that it does not protect music, art SMITH And the government of course has been, what's the right word, cherry in its support of the arts. And I think that is only more prevalent now in this congress. Coming up, your calls and questions for our two guests Norman Lear and Kathleen Turner.

We'll be right back. I'm Terence Smith sitting in for Diane Rehm. And I have the pleasure of being in the studio with Norman Lear, the great producer, and Kathleen Turner, the great actress. SMITH And so it is a pleasure to have you and we have any number of people calling in who wanna talk to you. For example, Gail is in Washington, D. Gail, you're on "The Diane Rehm Show. Lear, first of all, happy birthday.

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I can't believe you'll be It was so much fun. You were wonderful. Everything was wonderful.

LEAR I'm very serious about it. Call People for the American Way. GAIL And we really need your voice. Progressives really need to keep hearing your strong forceful voice, so thanks for all your great work. And, Terence Smith, this really goes back decades. GAIL Thank you so much. I appreciate it all. And I will call People for the American Way. And we have the same cause. Thank you very much. Let's go now to Mike in Dallas, Texas. Mike, you're on "The Diane Rehm Show. MIKE Hi, thank you. I just wanted to thank Mr.

Lear for the many years of great entertainment that he's brought us and helping to make us laugh and helping to make us think, and the wonderful gift of discovering and letting us know about Carroll O'Connor who I still marvel at today. He was one of my favorite actors. This guy could act with just his eyes. If you were to bound up his whole face, he could do the entire production with only his eyes. It's amazing.


Miss Fortune: Lear Family, Book 3 (Unabridged)

I loved Carroll O'Connor. And I hope that you'll be around many more years to give us some more unintelligible. But tell us about Carroll O'Connor as an actor. LEAR Carroll O'Connor as an actor, it may -- I don't know which came first, the idea to do the great close-ups came from me or it came from his face and my reaction to his every expression.

But if you look at "All in the Family" compared to any of the current shows, you will find these faces on giant close-ups all the time where those great reactions came from. Probably started with that glorious face of Carroll's. Interestingly enough, because his name was O'Connor, because he's clearly Irish, everybody said, you have to name him as an Irishman. If it comes up, he's Irish. LEAR I said, no, I'm not gonna make a bigot of any particular race or religion or, you know, it's just not gonna happen. And that's the Kathleen Turner, you were a young woman.

Did you watch "All in the Family" and enjoy it? Oh, yeah, when I could. I actually had lived outside the country until 18 because my father was a diplomat. So I came back to the United States in '72, ' So I actually was actually catching up on American culture through "All in the Family. Rosie, you're on "The Diane Rehm Show. Kathleen, before I got to see "Body Heat," there were a young man that came to my job and he goes, you gotta go and see this movie.

She reminds me so much of you.

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He goes, "Body Heat. But I saw it. And every time I see that movie or I've seen that movie, I think, okay, what did he see in her character? But I wanna say this, it's amazing that you are there with Mr. Lear, I hate "Good Times" because of -- and I gave you all of the reasons why. And it was amazing. I never expected to hear from you. You sent me an application and offered me to write a movie or write a series and send it to you.

I never acted on it. But I was impressed that you listened to me. And then I was looking for my favorite station on the radio. And this particular station kinda caught my attention and I stopped. I've never listened to this show before. And I've told people before. I've said, I wrote him and he wrote me back. Lear, I'm 54 now and I have written my first script. If you could -- if you would, tell me how I would be able to do so.

What do you think of the state of that movement right now in American politics? We're obviously in an election year. Kathleen Turner? I'll go first. I think in many ways it is as solid as it ever has been. One of the problems with being more liberal, more progressive is we don't organize as well. We're not as rigid as say a tea party group that tells its group, its people what it will think and what it will do.

We don't react very well to that sort of thing, so it makes us seem a little less organized, but our hearts are true.

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LEAR I would say the movement is in certain regards quite timid.