Fool: A Novel - download pdf or read online

By Christopher Moore

A guy of countless jest, Pocket has been Lear's adored 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 while Lear—at the insidious urging of Edmund, the bastard (in each approach that you can think of) son of the Earl of Gloucester—demands that his youngsters swear their timeless love and devotion ahead of a set of assembled visitors. after all Goneril and Regan are just too satisfied 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 quite hit the fan. the entire rattling country's approximately to visit hell in a handbasket due to a obdurate previous fart's wounded satisfaction. And the one one who can very likely make issues correct . . . is Pocket, a small and mild clown with a biting humorousness. He's already controlled to evade 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 with ease hidden in the back of his again. Now he's going to need to perform a little very fancy maneuvering—cast a few spells, incite a couple of assassinations, begin a conflict or (the ordinary stuff)—to get Cordelia again into Daddy Lear's solid graces, to derail the fiendish energy performs of Cordelia's twisted sisters, to rescue his large, gigantically dim, and continually randy buddy 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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It constitutes such a world in its very pronouncements. Of course, as Coriolanus discovers, such a world is a fragile thing without the military power and the popular support to maintain it. Antony and Cleopatra’s apparent concern with transcendence in its last scenes, like the sonnets’ similar preoccupations, should be seen in terms of the attempts by its defeated protagonists to maintain, and even extend, the show of self-proclaimed performative authority exemplified in the public coronation and division of empire.

Rather, he tries to displace his eloquent rival from the beloved’s favour. The argument is employed because it is thought to have a greater political and social force than that of the rival, not because its language is epistemologically ‘more true’.    is it that sayes most,which can say more, Then this rich praise,that you alone,are you, In whose confine immured is the store, Which should example where your equall grew, Leane penurie within that Pen doth dwell, That to his subiect lends not some small glory, But he that writes of you,if he can tell, That you are you,so dignifies his story.

By surrounding them with different kinds of critical fictions critics hoped to get them to make coherent sense. Repeated attempts to fix the Quarto order by arguing that it was indeed authorised by its author (albeit in some haste to escape the plague, we are told) offer no new factual evidence, but merely rearrange old fictions in predictable ways. Such scholarship is furthermore pressed into the service of prior commitments to particular narratives that hold the poems together, in an attempt to fill in the gaps that are the marks of their autobiographical origin.

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