FAMILY/WOMEN

‘Our preparation stands/ In expectation of them. O dear father,/ It is thy business I go about.’ 4.4 23-26

Here, Cordelia is presented as both active and just. This is evident in the majestic pronoun and the connotations of “business”, depicting Cordelia in a powerful, active position. She is also presented as a just character, both through the loving address term, which aligns her with the Jacobean view of the ideal family, and through the biblical allusion of “It is thy business I go about”, which aligns her with the goodness of God. 

“Her voice was ever soft, gentle and low-an excellent thing in a woman’ by Lear about Cordelia- Act 5 Scene 3  

Lear suggests that a woman's virtues lie in her passiveness and submission. Triple used to create an idealized tone glorifying Cordelia. Emphasizes loss and irreversible recognition- Lear will never truly learn. Cordelia dies reduced to a set of traits valued by male authority rather than acknowledged for her moral strength

“I must change arms at home and give the distaff into my husband's hands” - Goneril Act 4 Scene 2 

Here Goneril subverts traditional gender roles – as the juxtaposition of ‘arms’ and ‘distaff’ highlight the separation of royal life into male and female spheres. However, Goneril's use of the first-person pronoun conveys her tone of authority as she takes control of the situation, breaking stereotypes by taking command of the army. She perhaps feels frustrated by the lack of action from her husband and the societal limitations placed on women and thus takes matter into her own hands

“how sharper than a serpents tooth it is to have a thankless child!”

The animal imagery of a “serpent” represents the idea of Goneril's evil and how animals and violence are greater than her. It shows Lear is thinking with his Body politic and he has no fatherly instincts towards her and instead insults her. The metaphor shows how strong the theme of ingratitude is throughout the play and how insecure Lear feels in his role to have to compare Goneril to animals and creatures.

No,you unnatural hags, I will have such revenge     2.4.272-273

The adjective unnatural coupled with the noun hags suggests Lear is so betrayed by his daughters’ actions he deems them the most unnatural term that at the time was punishable by death. Witches were believed to be responsible for storms and bad weather

‘Unhappy that I am, I cannot heave my heart into my mouth’ Act one scene one

In contrast to the empty flattery from Goneril and Regan, Cordelia offers a truthful evaluation of her love for him. The use of the verb “heave” demonstrates that she can’t supersede her integrity just to accommodate her father.

Into her womb convey sterility’ - Lear Act 1 Scene 4  

Line 275 

The semantic field of femininity connotes to Lear’s own fear of women’s power and bodies; Lear acknowledges that the Jacobean woman’s role was to produce a family; to attack Goneril’s ability to produce a family is to diminish her worth as a Jacobean woman. This misogynistic curse allows the audience to perceive Lear as a cruel and conniving character

‘An ample tear trilled down her delicate cheek’ - 5.3.12

The use of blank verse conveys the gentleman’s admiration for Cordellia. The musical connotations of ‘trilled’ emphasizes Cordellia’s femineity and the epithet ‘delicate’ exposes the sensualized view of women from the male gaze. This view is ironic and painfully misogynistic as it reduces Cordellia down to being a fragile female while in reality she is on the cusp of invading England, leading an army.

“O, how this mother swells up towards my heart! Hysterica passio” Act 2.4 54-55

The interjection and exclamative suggests Lear’s shifting identity as he is frightened by the changes he feels in him, “hysteria passio” suggests a feeling of suffocation. Lear feels his masculinity is under threat as he rejects any feminine aspects of his identity. 

“What have you done, Tigers not daughters, what have you performed?” 4.2 40 

Through the animalistic imagery, Albany dehumanises Gonerill and Regan, depicting them both as predatory and power-hungry. The metatheatrical verb ‘performed’ implies the sisters’ authority is constructed, as they deliberately enact cruelty to undermine Lear’s sovereignty and disrupt the natural order.