By Christopher Moore
A guy of limitless jest, Pocket has been Lear's loved idiot for years, from the time the king's grown daughters—selfish, scheming Goneril, sadistic (but erotic-fantasy-grade-hot) Regan, and candy, dependable Cordelia—were mere women. So obviously Pocket is at his brainless, aged liege's aspect whilst Lear—at the insidious urging of Edmund, the bastard (in each approach that you can imagine) son of the Earl of Gloucester—demands that his childrens swear their timeless love and devotion ahead of a suite of assembled visitors. after all Goneril and Regan are just too chuffed to brownnose Dad. yet Cordelia believes that her father's request is more or less . . . good . . . silly, and her blunt honesty finally ends up costing her her rightful percentage of the dominion and earns her a banishment besides.
Well, now the bangers and mash have rather hit the fan. the full rattling country's approximately to visit hell in a handbasket due to a obdurate outdated fart's wounded satisfaction. And the single one who can in all likelihood make issues correct . . . is Pocket, a small and moderate clown with a biting humorousness. He's already controlled to stay away from disaster (and the vengeful blades of many an angry nobleman) on various events, utilizing his razor-sharp brain, rapier wit . . . and the both well-honed daggers he retains very easily hidden at the back of his again. Now he's going to need to do a little very fancy maneuvering—cast a few spells, incite a number of assassinations, begin a conflict or (the ordinary stuff)—to get Cordelia again into Daddy Lear's solid graces, to derail the fiendish strength performs of Cordelia's twisted sisters, to rescue his tremendous, gigantically dim, and continuously randy pal and apprentice idiot, Drool, from repeated beatings . . . and to shag each lusciously shaggable wench who's amenable to shagging alongside the best way.
Pocket could be a idiot . . . yet he's certainly no longer an fool.
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Extra info for Fool: A Novel
HALLIDAY, Shakespeare and his Critics, London 1949, 1958; Shakespeare Criticism 1919-1935, a cura di A. RIDLER, London 1959; Shakespeare Criticism 1935-1960, a cura di A. BRADBY, Oxford 1963; Shakespeare Criticism 1935-1960, a cura di A. RIDLER, London 1963; G. , Milano 1965; Shakespeare: the Critical Heritage, a cura di B. , London 1974 sgg. Mentre si rimanda a queste storie e antologie per una documentazione sulla critica del Seicento, del Settecento e dell’Ottocento, si ritiene utile, prima di fornire essenziali indicazioni sulla critica del Novecento, segnalare gli scritti AGOSTINO LOMBARDO shakespeariani di S.
LERNER, Harmondsworth 1967; N. M. M. BEVINGTON, Tudor Drama AGOSTINO LOMBARDO and Politics: A Critical Approach to Topical Meaning, Cambridge (USA) 1968; N. M. EASTMAN, A Short History of Shakespearean Criticism, New York 1968; B. VICKERS, The Artistry of Shakespeare’s Prose, London 1968; J. WINNY, The Player King: A Theme of Shakespeare’s Histories, London 1968; J. R. S. A. B. PIERCE, Shakespeare’s History Plays: The Family and the State, Columbus (USA) 1970; R. BERRY, Shakespeare’s Comedies: Explorations in Form, Princeton (USA) 1972; K.
In ogni caso Otello è ora all’acme della sua fortuna: la natura ha sconfitto per lui il nemico ottomano; i sudditi della sua isola lo stimano; finalmente può consumare l’amore con Desdemona (il che rivela che la «bestia a due groppe» è stata un’icastica invenzione del playwright Iago). La prima battuta di Otello a Cipro riprende lo schema del suo ultimo intervento a Venezia. Da una parte, infatti, l’uomo conferma una tendenza a epicizzare la realtà quotidiana (nelle sue parole a Desdemona la lotta con gli elementi diventa quasi uno scontro omerico)10; subito, però, la dimensione torna all’amore, al privato.