King Lear gives his all to Goneril and Regan, but is betrayed and goes mad, leaving him in a state of nothing. However, Lear regains his sanity through the devoted support of the Fool, Kent, and by being reunited with Cordelia. The Fool predicts a future portraying an ideal Britain, where class distinctions disappear and everyone walks as equals. The French king’s oxymoronic expression “forsaken to be most regarded, unloved to be most loved” refers to the relativity of the two concepts, saying that there is no absolute standard. Lear is reconciled with his beloved daughter Cordelia, but his joy is short-lived, as she is murdered not long after they reunite. He feels a deep sense of loss and loses his life in shock.
Shadrack also loses everything and falls into nothingness and begins to lose his mind, but from a black person’s perspective he sees the truth. On her deathbed, Sula, like the Fool, predicts a future where love is unconditional. The words “the robin shit” and “a movie star”, which represent beauty, ugliness, good and evil, represent the fusion of two concepts, as in the lines of the King of France. Shadrack can relate well to Sula, and views her like a daughter to him, but his happiness is short-lived when she dies. Shadrack also feels a sense of loss, but his sick mind recovers sufficiently to be able to comprehend the feeling of loneliness.
The concepts of good and evil, which seem to be at odds in King Lear and Sula, are not in conflict. To endure and suspend judgement between the two concepts means that Lear’s world of madness eventually turns into the world of truth, the invisible world of the people of Bottom into the visible world, the seemingly opposing and contradictory dichotomies1 merge, and despair turns into hope. Thus, it can be said that Sula is a work that embraces the themes of King Lear.
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