power borrowed from nothing apart from itself. Yet we never feel desolation at the end of a tragedy, because what is lost is also, by the very same means, found. At the end of the Iliad, as at the end of every tragedy, we are washed in the beauty of the human image, which our pity and our fear have brought to sight. It is as if even Shakespeare, watching his own play, could not quite bear its unyielding ferocity. Achilles' grief is transformed into satisfaction, and cleansed from his chest and his hands (513-14). When, in Book xviii, Achilles had accepted his doom (115 it was part of a bargain; "I will lie still when I am dead he had said, "but now I must win splendid glory" (121). But the forging of a new identity for Jamess Great Britain was a formidable ideological challenge. Sophocles does make me fear and pity human knowledge when I watch the Oedipus Tyrannus, but this is not a refinement of those feelings but a discovery that they belong to a surprising object. Our souls are so many-headed that opposite satisfactions may be felt professional essays on rap music at the same time, but I think these two really are opposite.
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King Lear cannot end because authority cannot be restored. Either explanation may account for the popularity of these movies among teenagers, since fear is so much a fact of that time of life. The king personally examined an allegedly possessed young woman, Anne Gunter, and arranged for her veracity to be tested by an acknowledged expert on true and false possession, Samuel Harsnett, who published A Declaration of Egregious Popish Impostures in 1603. King James I of England, in a portrait attributed to John de Critz, circa 1606; William Shakespeare, in a portrait attributed to John Taylor, circa 1610. Cunningham describes it in the book I mentioned as the shocked limit of all feeling, in which fear, sorrow, and joy can all merge. What is the effect on us of this recognition? Jamess interests have given him the opportunity to write a play about the collapse of all political order and that in turn gives him the opportunity to show what authority really looks like when it is not propped up by power. Green Lion Press, 2001. Some of the names of devils that torment Poor Tom are taken directly from Harsnett: Puff, Pure, Frateretto, Flibbertigibbet, Mahu, Smulkin, Obidicut. I think this is because its role is taken over later in the Poetics by another, more positive, word, but the idea of catharsis is important in itself, and we should consider what it might mean.
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