Death quotes

• Gloucester - ‘Twixt two extremes of passion, joy and grief, Burst smilingly‘ - Edgar, 5.3.

• Edmund - ‘[They] fight [Edmond falls]‘ - 5.3.

• Goneril and Regan - ‘[Gonerill’s and Regan’s bodies brought out]‘ - 5.3.

• Cordelia - ‘That heaven’s vault should crack. She’s gone forever‘ - Lear, 5.3.

• Lear - ‘He dies’ - 5.3.

Gender

• Sexism is shown in the way the female characters are treated by those within the play, but also by the portrayal of the female characters and the portrayal of masculinity vs femininity.

Sexism

Women are presented as existing for the men in the play - it even starts with women serving Lear’s whims. Cordelia is the only one to oppose this. Gonerill is shown to hate her husband, implying she did not have a choice in her marriage. Regan’s achievement is credited to her husband, and she desires a new husband over all else.

• ‘Which of you shall we say doth love us most, That we our largest bounty may extend‘ - King Lear, 1.1. The three daughters are asked to show their worthiness of their inheritance, not by any virtue or strength, but how much they love their father. This presents the female characters as having to compete with each other for approval, but also that their only worth is in their love of the male characters. It also counters with how sons would be judged, as primogeniture would be used to decide who inherits, therefore Gonerill should. By not following inheritance based on the firstborn, Lear shows that his daughters are fundamentally different to sons and should be treated differently.

  • ‘I love your majesty According to my bond, no more nor less.‘ - Cordelia, 1.1. Cordelia opposes her father in this scene, going against the expectations for a daughter to serve her father, especially as she has no husband yet. However, it can be argued she is enforcing the normal laws of the time by emphasising the power of her bond, she is attempting to remind her father of the normal order - patriarchy - in which her love for her father is expected and needs no declaration.

  • ‘I loved her most and thought to set my rest On her kind nursery‘ - King Lear, 1.1. King Lear continues to emphasise how he wishes to force his daughters to serve him even after his retirement, fixating on Cordelia, his favourite, to fulfill this role. He positions her as a mother by referring to her nursery, which also shows how he needs to be mothered and cared for in his old age. This therefore prevents her from having her own freedom and having her own kids, as she must raise her father in his madness. This could also be due to the loss of Lear’s wife, who may have fulfilled this caring role, now Cordelia must do it.

• ‘My fool usurps my body‘ - Gonerill, 4.2. Gonerill refers to her body being usurped, which could have many meanings. He uses her body the way he sees fit, as was a man’s right, as marital rape was not viewed as a crime - a man did not require consent from his wife as she was his possession, not his equal. Her disgust for him therefore may originate from his treatment of her as a sex object, not due to her cruelty. By referring to him as ‘my fool‘ she shows her lack of respect for him as a man, that he deserves to be a fool and not her husband. This therefore illustrates that the power he has over her she does not believe is justified, that she should control her body, not him.

• ‘But to the girdle the gods inherit; Beneath is all the fiend’s.‘ - Lear, 4.5. Lear here says that the gods have a woman from the waist up - so therefore her mind, but below this devil’s control. This implies that woman’s sexuality is demonic, but not male sexuality, emphasising the idea that lust is only a sin in a woman. This fits with the play’s animosity towards children and mothers, both are results of specifically female sexuality.

• ‘Flew on him and amongst them felled him dead‘ - Messenger, 4.2. This demonstrates how women are presented within this era. The messenger frames Cornwall as the murderer of the servant, when it was in fact Regan. This could be for many reasons. As the messenger was not a witness, he was told this by another. Cornwall may have claimed to be the murderer to present himself as stronger, as he was able to kill the one who killed him. However, this may be to disguise the fact it was Regan, as a woman committing murder would have been seen as a negative, as this is her fulfilling a masculine role. It therefore protects her from the harmful rumours that would have been caused by admitting to the murder. Alternatively, the messenger may not know the true murder, and assumes it to be Cornwall as he is the man, and should therefore be the stronger.

• ‘Witness the world that I create thee here My lord and master‘ - Regan, 5.3. This shows Regan almost proposing to Edmund, by announcing her intention to marry him in front of her sister, Albany and any other surrounding soldiers. She does not ask Edmund a question, but instead states that she will make him her ‘lord and master’. The use of my shows her possessiveness over him, but lord and master implies she wishes Edmund to control her, unlike Gonerill who wishes to control Edmund. This could tell us Regan needs a masculine figure in her life to control, as she has lost both her father and husband and is unable to cope with independence.

• Additionally, neither Gonerill or Regan get the chance of redemption that Edmund does, dying off screen.

Masculine vs feminine presentations

Femininity is presented as causing madness in Lear, but as giving power to Cordelia, suggesting that femininity in it’s natural way (in a woman) is good, but in a man is bad. Similarly, masculinity is presented as constantly negative throughout the play within the female characters - but the blame of their masculine presentations could be placed on their husbands, the cowardly Albany, and Cornwall who is unable to kill a servant. Therefore, masculinity being subverted is the fault of men, and femininity being subverted is the fault of women by not giving Lear what he wants.

• ‘O how this mother swells up toward my heart!‘ - King Lear, 2.4. Lear refers to ‘this mother’, which is another word used for hysteria, due to the belief it originated in the womb. It’s swelling up to his heart is another symptom of hysteria, as the womb was thought to rise up to the heart. This labels Lear’s madness as feminine, therefore implying his weakness is caused by femininity overtaking masculinity. He uses this likely as he believes his emotional distress to be feminine, as he is upset over the loss of his daughters.

• ‘All you unpublished virtues of the earth, Spring with my tears‘ - Cordelia, 4.3. Cordelia uses her femininity in a helpful way, ordering nature to use her tears in order to inspire goodness and save her father. She is not ashamed of her femininity, like her father, or avoids it like her sisters, but wields it in order to achieve her goals. Yet, this still presents some masculinity, as she does order the Earth. It can be suggested that the Earth did listen, as her father is returned to her. This could perhaps suggest femininity is not inherently bad, but mistakenly perceived as a weakness by Lear. Additionally, female leadership was something Britain was accustomed to with Elizabeth 1 and Mary 1, so it would not be seen as inherently negative.

• ‘I must change names at home and give the distaff Into my husband’s hands.‘ - Gonerill, 4.2. Gonerill is saying she believes her husband to be the feminine one, likely due to his weakness (‘milk-livered man‘ - Gonerill, 4.2.), therefore they should change roles - he should spin the wool and become a housewife, and in turn she should be the general, and the King in charge of the country. This shows her ambition, she believes herself to be superior to a man, and believes any restraint to be cowardly. This shows her becoming more masculine by aspiring to a man’s position.

• ‘Give me thy sword‘ - Regan, 3.7. Regan orders this of a servant, in order to kill her husband’s attacker. This shows her becoming more masculine, as she commits the act of murder. However, her husband was badly wounded and likely losing this fight, so this can be interpreted as her trying to save and protect him. She does this in a dishonourable way, as stabbing him while he still fought her husband suggests she could not have beaten the man in a fight. This could suggest masculinity is harmful, as it is obtained by murder and lust.

• ‘Ere long you are like to hear… A mistress’s command.‘ - Gonerill, 4.2. Gonerill suggests to Edmund the possibility of her committing adultery with him, showing her lust has overcome any of her virtues, and she becomes more masculine as lust is normally presented as a male trait. She emphasises this by saying command, showing she still wishes to order Edmund around. This contrasts her and Gonerill - she wishes for Edmund to obey her, and Regan wishes for him to rule over her.

Justice

The existence of justice is questioned throughout the play, as characters contemplate whether real justice exists.

Pleas

Many characters plead for justice throughout the play, such as King Lear and Gloucester, which could be seen as moments of catharsis.

• ‘defend you from seasons such as these? O I have ta’en Too little care of this‘ - Lear, 3.4. This tells us that Lear regrets not doing more towards justice towards the common people. His focus on ‘I‘ over we, show his changing attitude as he takes accountability for his actions. The seasons, therefore the storm, represent his madness, show that he wants to protect his people from madness.

• ‘So distribution should undo excess, And each man have enough.‘ - Gloucester, 4.5. Gloucester shows that he wishes the poor man justice, as well as in his madness. Lear and Gloucester both showing this idea could either present it as mad due to it’s unachievability or stupidity, or show that this is a good idea - that within their madness is catharsis. This focuses on poor people who could show that Gloucester and Lear have been lowered to this level.

Actual justice

These moments occur mainly in the final scene, where the Greek method of Nemesis occurs in the deaths of Edmund, Gonerill and Regan. However, it is arguable whether Lear, Gloucester and Cordelia get what they deserve.

• ‘The dark and vicious place where thee he got Cost him his eyes.‘ - Edgar, 5.3. This shows Edgar arguing that Gloucester deserved his blinding due to his adultery. This could show Edgar arguing that people in this play get what they deserve, something which is soon countered by the death of Cordelia. It also presents the idea that the Gods are just.

• ‘The wheel is come full circle; I am here.‘ - Edmund, 5.3. This strengths Edgar’s idea that people get what they deserve, by showing that Edmund may have been allowed to rise, but not forever as he soon falls. This again is the idea of Godly justice, as justice done by humans is rarely shown.

• ‘Where he arrives he moves All hearts against us.‘ - Regan, 4.4. This shows that the common people want justice, showing them as opposed to the rich. It also shows they have sympathy for the rich people, such as Gloucester. It also presents Regan as fearing justice.

• ‘This judgement of the heavens … Touches us not with pity‘ - Edgar, 5.3. Edgar says this once the bodies of Regan and Goneril are brought forth, showing that he believes their deaths to be Godly justice. He also, however, says he has no pity for them, although he understands why such death would shock others. This could show Edgar as desensitised, but also show him as unchristian as he is unable to forgive.

  • ‘Your lady, sir, your lady; and her sister By her is poisoned: she confesses it.‘ - Gentleman, 5.3. This is the reveal of Goneril’s death by suicide and Regan’s death by poison, which both occur offscreen, which can be seen as quite anticlimactic, especially after Edmund’s on screen fight. Additionally, while Goneril’s death by suicide can be seen as deserved due to her conspiring against Albany, murdering her sister and plotting against her father, it is harder to argue Regan’s death was just. Her desire for Edmund was lawful, and she never crossed boundaries as Goneril did, and she served her husband’s desires in torturing Gloucester.

Thwarted justice

Justice is shown to be ignored by many of the characters throughout the play. The play can also be seen as ending in injustice.

• ‘Say if I do; the laws are mine, not thine. Who can arraign me for’t?‘ - Gonerill, 5.3. This shows that Goneril controls the country, and therefore is not susceptible to justice. Goneril believes she has total power and control, and can therefore do whatever she wants.

• ‘True or false, it hath made thee Earl of Gloucester.‘ - Cornwall, 3.5. This shows that Cornwall does not care about the truth, and only what causes him to gain, such as deposing Gloucester. It also shows that Edmund would be rewarded for lying, as long as it results in Cornwall’s gain.

• ‘That heaven’s vault should crack. She’s gone for ever.‘ - Lear, 5.3. Lear says this when entering with Cordelia’s dead body, which represents injustice as Cordelia did nothing throughout the play to deserve her death. Yet, it could be argued she deserves this for publicly opposing her father, thus causing the chain of events that led to his disposal. Additionally, it could be said that Lear deserves her death due to his actions, as he has caused all the death’s throughout the play by sending her away. Lear wishing ‘heaven’s vault should crack‘ shows Lear blames the Gods and believes them to be unjust, contrary to Edgar.

• ‘Look on her! Look, her lips. Look there, look there.‘ - Lear, 5.3. These are Lear’s final words before his death, showing that even while dying he retains hope that Cordelia could somehow come back to life. However, he dies after, perhaps presenting that hope harmed Lear and caused his death. It could also present him as mad, furthering the audience’s sympathy for him. This could show his death as unjust, as all he wanted was his daughter to live.

• ‘For thee, oppressed king, I am cast down,‘ - Cordelia, 5.3. This presents Cordelia as a parent figure, as she allows herself to receive punishment for her father. It presents her as a supportive source of strength, therefore as a mother and a father. This also acknowledges that neither of them deserve their punishment, showing the injustice of their situation.

Authority/ power vs chaos

Abuse of power

All the characters in power, except Cordelia, are shown to use their power poorly. Albany cannot oppose his wife, Regan, Gonerill, Cornwall and Edmund use their power to hurt others and Gloucester and Lear harbour regrets over never using their power for good.

• ‘It is the cowish terror of his spirit That dares not undertake‘ - Gonerill, 4.2. Gonerill refers to her husband as cowardly, and therefore fearful of taking risks. This shows that she does not respect Albany, and paints him as weaker than her, as she is able to take risks such as insulting her husband and committing adultery without fear of his retribution. Therefore, Albany does not use his power, even though he is in charge of half of the kingdom and his own wife.

  • ‘you twain Rule in this realm and the gored state sustain.‘ - Albany, 5.3. Albany’s weakness is further illustrated in his final lines in the play, giving responsibility over to Edgar and Kent instead of offering to care for it himself. This lack of responsibility is worsened when it is realised it is his side who did most of the bad - Edmund overstepped and killed Cordelia, and Gonerill killed Regan. He was unable to control his wife or his country.

• ‘yet our power shall do a curtsy to our wrath‘ - Cornwall, 3.7. Cornwall uses his power to enact his wrath, showing he abuses his power to his own whims, illustrated by his blinding of Gloucester for his betrayal. ‘curtsy‘ is a woman’s greeting, perhaps suggesting that power is a feminine force which is defeated by the masculine force of rage.

  • ‘[Regan plucks Gloucester’s beard]‘ - stage direction, 3.7. Regan’s plucking of Gloucester’s beard is unnecessary cruelty, used to demonstrate the lack of empathy she has. Plucking his beard could be seen as highlighting the age difference between them, or the gender difference, as she has no beard to pluck and therefore cannot receive this same treatment. It also highlights that a woman should not be doing these acts.

  • ‘Out, vile jelly‘ - Cornwall, 3.7.

• ‘Say if I do; the laws are mine, not thine. Who can arraign me for’t?‘ - Gonerill, 5.3. Gonerill says this to Albany after being caught plotting his death, and highlights the lack of power he has over her. If the laws are yours, then you cannot be punished by them, which represents how easily power can be abused. Yet, Albany is the one with the power, as he is the King and she is simply his wife - she has no real power. Therefore Gonerill has become overconfident due to Albany allowing her to do as she pleased for so long.

• ‘if thou dost As this instructs thee, thou dost make thy way To noble fortunes.‘ - Edmund, 5.3. This shows Edmund abusing his power as Earl to convince a captain to do as he pleases. He offers him ‘noble fortunes‘, indicating he will reward him monetarily or even with land and power himself, a form of bribery. He is instructing him to kill the King, and the captain accepts, showing that people are susceptible to doing as those in current power please.

• ‘defend you from seasons such as these? O I have ta’en Too little care of this‘ - Lear, 3.4. In the storm, Lear reflects on those who have no shelter, and admits guilt at doing little to help the poor. This shows Lear having a moment of clarity - he realises he should have done more good as King, but it is too late for this. The storm can be interpreted as a metaphor for the turbulence within the kingdom, so this could also be seen as Lear regretting not doing enough to prevent this war, in which the common people will mostly suffer as they serve as soldiers, or their homes will be destroyed in the destruction.

• ‘So distribution should undo excess, And each man have enough.‘ - Gloucester, 4.5. Gloucester also shows regret in not helping the poor enough, but in a different way. He speaks poorly about those with money for not distributing it so that there is no longer any poor. This is a Marxist idea, and is presented after Gloucester loses his eyes, therefore he is able to see clearer.

Good authority

This can be seen in Cordelia supporting her father after she has been wronged, and also in the authority of the people to usurp their bad rulers, which many express fear over.

• ‘No blown ambition doth our arms incite, But love, dear love, and our aged father’s right.‘ - Cordelia, 4.3. This shows Cordelia as an example of good authority, she does not wish for it due to her own ambition, unlike Edmund, but instead for love and her father’s right. However, fighting for love could be seen as an abuse of power, as her own love should not impact her decisions if she is to be a just ruler. However, she does say she fights for her father’s right, showing that she truly does care for the laws of the kingdom.

• ‘Where he arrives he moves All hearts against us.‘ - Regan, 4.4. This shows Regan showing her fear of people turning against her once seeing the cruelty she has inflicted, representing that the common people strive for good authority. This shows that she is aware of the evilness of what she did, but she only cares about it when she may face consequences. It also emphasises the chaos in the kingdom, that wars from within are feared.

• ‘Whose age had charms in it, whose title more, To pluck the common bosom on his side‘ - Edmund, 5.3. This shows that Edmund is also fearful of the common people siding against them, as they will feel sympathy for Lear’s age and will recognise his past title. However, this fear may be a lie, as Edmund’s real intention was to secretly kill both Lear and Cordelia, so this could simply be an excuse.

Desire for authority

Desire for authority, and therefore power, is shown by many characters throughout the play, such as Edmund, Gonerill, Regan and even Lear. Good characters are shown to have power without a desire for more.

• ‘Our potency made good, take thy reward‘ - Lear, 1.1. This shows Lear wanting to show his authority by punishing Kent. This implies Lear is fearful of his authority seeming weak, and wants those around him to know his power is still great. This could be in preparation for splitting the kingdom. It may also imply he doesn’t want to punish Kent, but feels forced to as he has disrespected his authority by questioning him.

  • ‘Come not between the dragon and his wrath‘ - Lear 1.1.

• ‘Edmund the base Shall top th’legitimate.‘ - Edmund, 1.2. Edmund aspires to grow, implying growth in power, from the beginning of the play, beginning with topping his elder and legitimate brother. This tells us his desire from power could stem from his lack of power due to his bastardy. It also tells the audience that to get power you must defeat those below you, showing how this society encourages this violence.

  • ‘Loyal and natural boy, I’ll work the means to make thee capable‘ - Gloucester, 2.1. This shows Gloucester twisting natural to a positive, and being incorrect by calling him loyal, in order to give him his land.

• ‘What need you five and twenty? ten? or five?‘ - Gonerill, 2.4. Gonerill encourages Lear to believe he needs no soldiers, and therefore no protection. Her scaling down shows that her intent is to not let him have some soldiers, but to completely remove all of them. This would give her full control over Lear, as he would no longer have any one to defend him, giving her and Regan total control.

Corruption of power

• Some critics argue that Shakespeare presents power as a corruptive force - that power causes the evils of Edmund, Gonerill and Regan. However it is more evident that desire for power is what causes their evils, as they Gonerill only kills her sister as she wants Edmund.

• It is Lear and Gloucester who are shown to be corrupted by power.

  • Power could be said to drive Lear mad, as it is the cause of his rash division of the kingdom.

  • Gloucester’s power leads him to become naive, and therefore susceptible to trickery.

• ‘We must do something i’th’heat.‘ - Gonerill, 1.1. This shows Gonerill and Regan as united, as Gonerill refers to them with the joint ‘we‘. Therefore, they are unified at the start of the play against their father, perhaps showing that they only join together with a common enemy. It also shows how quick they both are to begin to plot against their own father. However, it is Gonerill and not Regan who begins this demand for action, perhaps showing her as the more rash and demanding of the sisters. This presents them as wishing for more power the instant they receive some, which could either present how fast power corrupts, or hint that their desire for power has always been present, and is what causes this harsh language.

• ‘Edmund the base Shall top th‘ legitimate’ - Edmond, 1.2. This shows Edmond’s desire for power in a soliloquy, illustrating that his desire for power is secret from others, and his isolation due to his bastardy. While in 1.1 Regan and Gonerill did gain power, Edmond did not, suggesting that his corruption is not sudden but caused by his long term desire for power. It could be seen as him taking advantage of the new chaos in the kingdom.

• ‘[Regan plucks Gloucester’s beard]‘ - stage direction, 3.7. Regan’s plucking of Gloucester’s beard is unnecessary cruelty, used to demonstrate the lack of empathy she has. Plucking his beard could be seen as highlighting the age difference between them, or the gender difference, as she has no beard to pluck and therefore cannot receive this same treatment. It also highlights that a woman should not be doing these acts. Additionally, it could show that power has corrupted her and made her cruel, as queen she is able to abuse Gloucester without punishment. Yet, her agreement with Gonerill’s cries for quick action suggests that she was already corrupted with the desire for power, and it is this desire that drives her to torture Gloucester.

  • ‘Out, vile jelly‘ - Cornwall, 3.7.

• ‘Which of you shall we say doth love us most‘ - Lear, 1.1. This shows his desire to get rid of his power. This can be seen as a mad decision, as views himself as most important and believes love for him conveys other virtues. It is certainly a rushed decision, perhaps emphasising how much he wants to escape power, believing it to be corrupting.

  • ‘Dowered with our curse, and strangered with our oath, Take her or leave her?‘ - Lear, 1.1. This presents Lear as mad for removing his daughter’s dowry, thereby ruining her prospects and disowning her, due to her not doing as he pleases. It could be said he is used to getting what he wants as King, causing this harsh reaction. The insulting way he mentions ‘thy truth‘ suggests either he believes she is lying, or the truth to be useless if it is not useful to him. This links him to Cornwall, who did not care if Edmond’s accusation of Gloucester was true.

  • ‘Our potency made good, take thy reward‘ - Lear, 1.1. This shows Lear wanting to show his authority by punishing Kent. This implies Lear is fearful of his authority seeming weak, and wants those around him to know his power is still great. This could link to his old age, but also his madness due to this rash decision. This could be in preparation for splitting the kingdom. It may also imply he doesn’t want to punish Kent, but feels forced to as he has disrespected his authority by questioning him. His usage of ‘reward‘ and ‘truth‘ in negative tones further emphasises his madness, that he mixes up positives and negatives.

    • Another element is the fact Lear is the ‘most sane‘ when he in the storm, with Gloucester and with Cordelia - when he has the least power his madness fades. This could show power had corrupted him, and perhaps he rushed to get rid of it due to this.

• ‘Abhorred villain! Unnatural, detested, brutish villain!’ - Gloucester, 2.1. This shows how fast Gloucester is to turn on his son, without any evidence other than Edmond’s testimony. While this shows his trust of Edmond, it may also present his lack of attention towards Edgar that he so quickly believes him to be evil. He also shows great anger via his repetitions, but also naivete and potentially confusion. His usage of ‘unnatural‘ could represent his beliefs in natural law, that a son must care for a father.

  • Like Lear, he is shown to make the most sense when stripped of his power, and his sight could be seen as a symbol of his power.

Chaos and confusion

Confusion and chaos are present throughout the play, with rumours spread and messengers often getting things incorrect. This serves to shake the order of the play, which would have disturbed Jacobean audiences who desired order.

• ‘I thought the King had more affected the Duke of Albany than Cornwall.‘ - Kent, 1.1. The first line of the play, showing Kent and Gloucester discussing the King’s thoughts. This could show him as unpredictable, and also show that those loyal to him struggle to understand him. It also shows Albany and Cornwall directly being compared, setting up for future division.

• ‘The coronet part between you‘ - Lear, 1.1. The word ‘know‘ shows this is not a suggestion, but a demand, and Lear has already decided this is to happen. Of course, no one else knows this yet, showing the chaos within the country as no one understands the plans of the king himself.

• ‘Flew on him and amongst them felled him dead‘ - Messenger, 4.2. This shows a messenger being unaware of who truly killed the servant - believing it to be Cornwall when it was truly Albany. This shows the confusion throughout the kingdom, as messengers are even spreading lies. He may have been told this lie, to support Cornwall or Regan, or may have heard rumours of what happened and came to his own conclusion.

• ‘You have heard of the news abroad? I mean the whispered ones‘ - Curan, 2.1. Gloucester’s servant asked Edmund for information about abroad news, which implies that Cordelia and France are plotting against Gonerill and Regan, which is what happens. This shows the chaos in the kingdom as servants are spreading rumours about wars that those in power have not heard.

• ‘heard of no likely wars toward ‘twixt the Dukes of Cornwall and Albany?‘ - Curan, 2.1. This again emphasises the chaos within the kingdom, as this time a servant believes Cornwall and Albany are fighting. However this is a false rumour - before his death they never quarrell and he fights alongside Cornwall’s army against France. This is likely believed due to the fact the nation is split, and many believed that this would cause both kings to fight one another.

Forgiveness and revenge

Forgiveness is only ever given unconditionally within the play, with Kent, Cordelia and Edgar forgiving for no visible reason. However, Lear and Gloucester do seem to be repentful for their actions. Revenge is first seen in the elder characters and then adopted by the younger suggesting that it is a trait that comes with power.

Forgiveness

This is done unconditionally by many of the younger characters to their elders, but also shown by characters asking for forgiveness near death.

• ‘thou master, whom thou lov’st‘ - Kent, 1.4. Kent instantly forgives Lear for banishing, without Lear acknowledging his wrongs, apologising or even pretending to care. This shows Kent’s loyalty, but also potentially his stupidity, as the fool acknowledges.

• ‘All you unpublished virtues of the earth, Spring with my tears‘ - Cordelia, 4.3. This is the first scene with Cordelia since 1.1, and it shows her having instantly forgiven her father. Cordelia uses her femininity in a helpful way, ordering nature to use her tears in order to inspire goodness and save her father. She is not ashamed of her femininity, like her father, or avoids it like her sisters, but wields it in order to achieve her goals. Yet, this still presents some masculinity, as she does order the Earth. It can be suggested that the Earth did listen, as her father is returned to her. This could perhaps suggest femininity is not inherently bad, but mistakenly perceived as a weakness by Lear. Additionally, female leadership was something Britain was accustomed to with Elizabeth 1 and Mary 1, so it would not be seen as inherently negative.

  • ‘Love well our father‘ - Cordelia, 1.1. Cordelia says this to Gonerill and Regan after her banishment, presenting her as mad for holding no grudge against him after she is banished. Additionally, it shows again her stubbornness in telling this to her sisters, who she suspects will not look after him.

• ‘My father, parti-eyed? World, world, O world!‘ - Edgar, 4.1. Edgar once he sees his father blinded. Shows he instantly feels sympathy for him, ignoring the fact he was the cause of his banishment and believed his bastard brother over him. Him and Cordelia both doing this could suggest this is a part of their duties to their fathers, although they are not shown the same kindness.

• ‘Some good I mean to do Despite of mine own nature.‘ - Edmund, 5.3. Edmund, on his deathbed, appears to control his past evil nature to do good. This could be seen as an act of repentance, however no one on the stage seems to accept his pleas, even though they unconditionally accept the apologies of Lear. Could show that the King is higher being, and therefore more willingly accepted, or perhaps they are unable to forgive him until they see his deed actually saves Cordelia.

  • Additionally, it could be questioned whether he is genuine. Perhaps he simply does this as he is dying and wishes to be remembered fondly, or perhaps when confronted with his evil he does feel genuine remorse.

• ‘I am a very foolish, fond old man‘ - Lear, 4.6. This shows Lear finally admitting his madness to his main victim, Cordelia, which can be seen as an apology for his past acts. The fricative alliteration shows his harshness, emphasising that he is potentially still confused.

Vengeance

The most vengeful characters are the elder characters in the beginning, who fall into rageful fits, but this is then adopted by the younger characters. This suggests it is a trait of the powerful, or in Edgar’s case, of the genuinely wronged.

• ‘Dowered with our curse, and strangered with our oath, Take her or leave her?‘ - Lear, 1.1. This shows Lear’s harsh language towards his daughter. He curses her as a dowry, showing that her marriage prospects are now dwindling. ‘strangered‘ tells us she has been disowned, showing his rash decision and his harshness. ‘Take her or leave her?‘ shows he has no care for what happens to her next, for if neither Burgundy or France took her she would likely be thrown out to die. This shows him as a bad father, as Cordelia’s actions did not warrant this. This is emphasised as she is his favourite daughter.

• ‘Our potency made good, take thy reward‘ - Lear, 1.1. This shows Lear wanting to show his authority by punishing Kent. This implies Lear is fearful of his authority seeming weak, and wants those around him to know his power is still great. This could be in preparation for splitting the kingdom. It may also imply he doesn’t want to punish Kent, but feels forced to as he has disrespected his authority by questioning him.

  • ‘Come not between the dragon and his wrath‘ - Lear 1.1.

• ‘Into her womb convey sterility‘ - Lear, 1.4. This again shows Lear’s harshness and cruelty, as he curses her using the Gods - especially serious as Kings were seen as closer to gods. Additionally, he targets her womb, showing him targeting her womanhood and her value as a potential mother. It also shows his lack of care for the continuation of his kingdom, as none of his children have any heirs.

• ‘Abhorred villain! Unnatural, detested, brutish villain!’ - Gloucester, 2.1. This shows how fast Gloucester is to turn on his son, without any evidence other than Edmond’s testimony. While this shows his trust of Edmond, it may also present his lack of attention towards Edgar that he so quickly believes him to be evil. He also shows great anger via his repetitions, but also naivete and potentially confusion. His usage of ‘unnatural‘ could represent his beliefs in natural law, that a son must care for a father.

• ‘To the descent and dust below thy foot, A most toad-spotted traitor.‘ - Edgar, 5.3. This shows Edgar admitting the evils of his brother, and having the strength to confront him. He does this by presenting Edgar’s evil as infectious, which is strengthened by his bribery in 5.1, and could perhaps suggest he causes Regan and Gonerill’s conflict. He also labels him as an animal, presenting that Edgar believes he is more human than his brother, but also showing his anger is so strong he is not against using childish insults.

• ‘What need you five and twenty? ten? or five?‘ - Gonerill, 2.4. Gonerill encourages Lear to believe he needs no soldiers, and therefore no protection. Her scaling down shows that her intent is to not let him have some soldiers, but to completely remove all of them. This would give her full control over Lear, as he would no longer have any one to defend him, giving her and Regan total control. This shows them openly conspiring against their father.

• ‘Edmund the base Shall top th’legitimate.‘ - Edmund, 1.2. Edmund aspires to grow, implying growth in power, from the beginning of the play, beginning with topping his elder and legitimate brother. This tells us his desire from power could stem from his lack of power due to his bastardy. It also tells the audience that to get power you must defeat those below you, showing how this society encourages this violence.

Madness and folly

Lear presents two types of madness; fake and real. The fake madness is that of Edgar’s, who mimics those perceived as mad in society. This suggests Shakespeare disagrees with the perception of these as mad, or at least does not believe they make up the majority of the mad. Lear’s madness is real, suggesting that it is madness of the elderly Shakespeare believes to be the most valid.

Fake madness

Edgar adopts his alias, Poor Tom, from his ideas of Bedlam beggars.

• ‘The country gives me proof and precedent Of Bedlam beggars.‘ - Edgar, 2.3. Edgar states how he is using conceptions of the people around him of mad people in order to create his character, and bases it off Bedlam beggars - mad beggars.

• ‘This is the foul Flibbertigibbet‘ - Edgar as Poor Tom, 3.4. Following his modelling of Bedlam beggars, Edgar conforms to the idea that mad men were possessed by demons, which is why they were often abused in bedlam as a cure. The fricative alliteration highlights the harshness of his speech, used to fake fear.

• ‘The low’st and most dejected thing of fortune, Stands still in esperance‘ - Edgar, 4.1. Edgar when reflecting on his fortunes. This shows that Edgar still has hope, even when reduced to pretending to be a mad beggar, and also shows why he is acting. He means that those who have suffered the most, can only gain in fortunes, as he does.

Madness

While madness is certainly shown in Lear, other characters also show mad actions. Gloucester’s belief of his bastard, Goneril’s affair and hatred of her husbands, and Regan’s masculinity. These actions, however, are only mad in a renaissance context.

• ‘This is not Lear‘ - King Lear, 1.4. This shows us that Lear is unable to recognise himself, perhaps as he no longer has the powers of kingship, his rashness has caused him to lose his identity, or his madness has caused him to forget himself. Furthermore, this could be him pretending not to recognise himself to annoy and mock Gonerill, which still presents himself as foolish and childish.

• ‘The coronet part between you‘ - Lear, 1.1. The word ‘know‘ shows this is not a suggestion, but a demand, and Lear has already decided this is to happen. Of course, no one else knows this yet, showing the chaos within the country as no one understands the plans of the king himself.

• ‘Abhorred villain! Unnatural, detested, brutish villain!’ - Gloucester, 2.1. This shows how fast Gloucester is to turn on his son, without any evidence other than Edmond’s testimony. While this shows his trust of Edmond, it may also present his lack of attention towards Edgar that he so quickly believes him to be evil. He also shows great anger via his repetitions, but also naivete and potentially confusion. His usage of ‘unnatural‘ could represent his beliefs in natural law, that a son must care for a father.

• ‘O how this mother swells up toward my heart!‘ - King Lear, 2.4. Lear refers to ‘this mother’, which is another word used for hysteria, due to the belief it originated in the womb. It’s swelling up to his heart is another symptom of hysteria, as the womb was thought to rise up to the heart. This labels Lear’s madness as feminine, therefore implying his weakness is caused by femininity overtaking masculinity. He uses this likely as he believes his emotional distress to be feminine, as he is upset over the loss of his daughters.

• ‘O, let me not be mad, not mad, sweet heaven!’ - Lear, 1.5. This shows Lear having a moment of recognising his madness, and praying to the Gods to rectify it. It also presents him as in denial, as he still has not fully accepted his madness. He does this to the fool, which can be seen as foreshadowing for when he finally admits his madness, and therefore his flaws, to Cordelia.

• ‘I am a very foolish, fond old man‘ - Lear, 4.6. This shows Lear finally admitting his madness to his main victim, Cordelia, which can be seen as an apology for his past acts. The fricative alliteration shows his harshness, emphasising that he is potentially still confused.

• ‘I must change names at home and give the distaff Into my husband’s hands.‘ - Gonerill, 4.2. Gonerill is saying she believes her husband to be the feminine one, likely due to his weakness (‘milk-livered man‘ - Gonerill, 4.2.), therefore they should change roles - he should spin the wool and become a housewife, and in turn she should be the general, and the King in charge of the country. This shows her ambition, she believes herself to be superior to a man, and believes any restraint to be cowardly. This shows her becoming more masculine by aspiring to a man’s position.

• ‘Give me thy sword‘ - Regan, 3.7. Regan orders this of a servant, in order to kill her husband’s attacker. This shows her becoming more masculine, as she commits the act of murder. However, her husband was badly wounded and likely losing this fight, so this can be interpreted as her trying to save and protect him. She does this in a dishonourable way, as stabbing him while he still fought her husband suggests she could not have beaten the man in a fight. This could suggest masculinity is harmful, as it is obtained by murder and lust.

• ‘Ere long you are like to hear… A mistress’s command.‘ - Gonerill, 4.2. Gonerill suggests to Edmund the possibility of her committing adultery with him, showing her lust has overcome any of her virtues, and she becomes more masculine as lust is normally presented as a male trait. She emphasises this by saying command, showing she still wishes to order Edmund around. This contrasts her and Gonerill - she wishes for Edmund to obey her, and Regan wishes for him to rule over her.

• ‘Marry, here’s grace and a codpiece; that’s a wise man and a fool.‘ - Fool, 3.2. He refers to Kent as a codpiece, which was a pouch that covered genitals, so therefore calls him genitals. He then calls him a fool, even though he himself is a fool, he believes himself wise enough to label Kent as a fool for being around Lear. He also refers to Lear as a wise man, showing that he respects the mad Lear more than Kent. It also interesting that he receives no punishment for such name calling, which represents Shakespeare’s common use of fools to speak truth with no punishment.

• ‘Be Kent unmannerly When Lear is mad.‘ - Kent, 1.1. This shows Kent attempting to convince Lear to change his mind, which could present him as mad as he has just seen what happened to Cordelia. Additionally, it shows other people have acknowledged his madness, but only Kent is willing to intervene, showing his loyalty to the country.

• ‘Love well our father‘ - Cordelia, 1.1. Cordelia says this to Gonerill and Regan after her banishment, presenting her as mad for holding no grudge against him after she is banished. Additionally, it shows again her stubbornness in telling this to her sisters, who she suspects will not look after him.

Acknowledgements within madness

Madness can be seen as showing anagnorisis.

• ‘defend you from seasons such as these? O I have ta’en Too little care of this‘ - Lear, 3.4. In the storm, Lear reflects on those who have no shelter, and admits guilt at doing little to help the poor. This shows Lear having a moment of clarity - he realises he should have done more good as King, but it is too late for this. The storm can be interpreted as a metaphor for the turbulence within the kingdom, so this could also be seen as Lear regretting not doing enough to prevent this war, in which the common people will mostly suffer as they serve as soldiers, or their homes will be destroyed in the destruction.

• ‘So distribution should undo excess, And each man have enough.‘ - Gloucester, 4.5. Gloucester also shows regret in not helping the poor enough, but in a different way. He speaks poorly about those with money for not distributing it so that there is no longer any poor. This is a Marxist idea, and is presented after Gloucester loses his eyes, therefore he is able to see clearer.

Folly

Malcontent characters, Edmund and the fool, identify madness in those around them.

• ‘Marry, here’s grace and a codpiece; that’s a wise man and a fool.‘ - Fool, 3.2. He refers to Kent as a codpiece, which was a pouch that covered genitals, so therefore calls him genitals. He then calls him a fool, even though he himself is a fool, he believes himself wise enough to label Kent as a fool for being around Lear. He also refers to Lear as a wise man, showing that he respects the mad Lear more than Kent. It also interesting that he receives no punishment for such name calling, which represents Shakespeare’s common use of fools to speak truth with no punishment.

  • ‘mad’st thy daughters thy mothers‘ - Fool, 1.4. The fool emphasises to Lear that giving away his power was a poor decision, as now his daughters have as much control over him as mothers. This can reflect on Kahn’s argument that Lear is searching for a mother figure, and finds it in his daughters.

• ‘This is the excellent foppery of the world‘ - Edmund, 1.2. He therefore calls the world around him foolish, which is apt as those around him fall for his disguise, and also shows his mocking and disdainful nature for those around him. Unlike the fool, however, he never voices these opinions, as he would receive punishment.

Betrayal vs loyalty

Betrayal

There are many betrayals in the play, mainly between families; Edmund against Edgar and Gloucester, Goneril and Regan against Lear, Lear against Kent and Cordelia, and Goneril against Albany.

• ‘Ere long you are like to hear… A mistress’s command.‘ - Gonerill, 4.2. Gonerill suggests to Edmund the possibility of her committing adultery with him, showing her lust has overcome any of her virtues, and she becomes more masculine as lust is normally presented as a male trait. She emphasises this by saying command, showing she still wishes to order Edmund around. This contrasts her and Regan - she wishes for Edmund to obey her, and Regan wishes for him to rule over her. This shows her betraying Albany, and her marriage.

  • ‘You have many opportunities to cut him off.‘ - Gonerill’s letter to Edmund read by Edgar, 4.5. This shows Gonerill plotting to kill her husband with Edmund, showing that letters are used for plotting. This reflects on her many sins, and also that letters are used. It also shows that letters can be used as evidence against people, similarly to how a letter is used against Gloucester.

• ‘Dowered with our curse, and strangered with our oath, Take her or leave her?‘ - Lear, 1.1. This shows Lear’s harsh language towards his daughter. He curses her as a dowry, showing that her marriage prospects are now dwindling. ‘strangered‘ tells us she has been disowned, showing his rash decision and his harshness. ‘Take her or leave her?‘ shows he has no care for what happens to her next, for if neither Burgundy or France took her she would likely be thrown out to die. This shows him as a bad father, as Cordelia’s actions did not warrant this. This is emphasised as she is his favourite daughter. This can be seen as him betraying her honesty.

  • ‘Our potency made good, take thy reward‘ - Lear, 1.1. This shows Lear wanting to show his authority by punishing Kent. This implies Lear is fearful of his authority seeming weak, and wants those around him to know his power is still great. This could be in preparation for splitting the kingdom. It may also imply he doesn’t want to punish Kent, but feels forced to as he has disrespected his authority by questioning him.

    • ‘Come not between the dragon and his wrath‘ - Lear 1.1.

• ‘A credulous father and a brother noble‘ - Edmond, 1.2. This shows that Edmond does not respect his father or his brother, by insulting them both. He calls his father naive, and his brother noble, showing he believes this to be a negative trait. This is likely as nobleness would make you inclined to familial loyalty and trust, which Edmond would believe as weak. Edmond therefore betrays both his father and his brother.

  • ‘Abhorred villain! Unnatural, detested, brutish villain!’ - Gloucester, 2.1. This shows how fast Gloucester is to turn on his son, without any evidence other than Edmond’s testimony. While this shows his trust of Edmond, it may also present his lack of attention towards Edgar that he so quickly believes him to be evil. He also shows great anger via his repetitions, but also naivete and potentially confusion. His usage of ‘unnatural‘ could represent his beliefs in natural law, that a son must care for a father.

• ‘What need you five and twenty? ten? or five?‘ - Gonerill, 2.4. Gonerill encourages Lear to believe he needs no soldiers, and therefore no protection. Her scaling down shows that her intent is to not let him have some soldiers, but to completely remove all of them. This would give her full control over Lear, as he would no longer have any one to defend him, giving her and Regan total control. This shows them openly conspiring against their father.

• ‘her sister By her is poisoned: she confesses it.‘ - Gentleman, 5.3. This shows that their conflict came to a head by Gonerill poisoning Regan and killing her over Edmond. This shows the weakness of their relationship, that Edmond could destroy it, but also the callousness of Gonerill to murder her own sister. Her confessing to it, however, could suggest she feels some guilt, but as this occurs after Edmond’s death and before her suicide it is likely she does this knowing she will avoid justice. This shows that Goneril betrayed Regan

Loyalty

The most loyal service is shown to be the truth throughout the play, however it is not taken well by superiors, and those loyal must suffer their rages. This could show that loyalty comes with pain, which is well endured by the characters in King Lear.

• ‘thou master, whom thou lov’st‘ - Kent, 1.4. Kent instantly forgives Lear for banishing, without Lear acknowledging his wrongs, apologising or even pretending to care. This shows Kent’s loyalty, but also potentially his stupidity, as the fool acknowledges.

• ‘All you unpublished virtues of the earth, Spring with my tears‘ - Cordelia, 4.3. This is the first scene with Cordelia since 1.1, and it shows her having instantly forgiven her father. Cordelia uses her femininity in a helpful way, ordering nature to use her tears in order to inspire goodness and save her father. She is not ashamed of her femininity, like her father, or avoids it like her sisters, but wields it in order to achieve her goals. Yet, this still presents some masculinity, as she does order the Earth. It can be suggested that the Earth did listen, as her father is returned to her. This could perhaps suggest femininity is not inherently bad, but mistakenly perceived as a weakness by Lear. Additionally, female leadership was something Britain was accustomed to with Elizabeth 1 and Mary 1, so it would not be seen as inherently negative.

  • ‘For thee, oppressed king, I am cast down,‘ - Cordelia, 5.3. This presents Cordelia as a parent figure, as she allows herself to receive punishment for her father. It presents her as a supportive source of strength, therefore as a mother and a father. This also acknowledges that neither of them deserve their punishment, showing the injustice of their situation.

  • ‘Love well our father‘ - Cordelia, 1.1. Cordelia says this to Gonerill and Regan after her banishment, presenting her as mad for holding no grudge against him after she is banished. Additionally, it shows again her stubbornness in telling this to her sisters, who she suspects will not look after him.

• ‘My father, parti-eyed? World, world, O world!‘ - Edgar, 4.1. Edgar once he sees his father blinded. Shows he instantly feels sympathy for him, ignoring the fact he was the cause of his banishment and believed his bastard brother over him. Him and Cordelia both doing this could suggest this is a part of their duties to their fathers, although they are not shown the same kindness.

  • ‘Feel you your legs? You stand.‘ - Edgar, 4.5. This shows Edgar demanding his father, but also showing his concern by asking how he feels. This presents him as a father, by guiding his son to do as he wants. It also shows Edgar’s character growth via being able to order around something. However, Edgar is playing a role during this scene, which may mean he still has not achieved these traits.

  • ‘[aside] Why I do trifle thus with his despair is done to cure it.‘ - Edgar 4.5. This shows Edgar justifying tricking his father into believing his suicide attempt as foiled. This can be seen as cruel, and show Edgar as acting like Edmund in his trickery. However, Edgar does this to save his father, showing that he truly does care for him and does not believe the character of Poor Tom is able to help him.

• ‘better service have I never done you Than now to bid you hold‘ - Servant, 3.7. During Gloucester’s blinding, a servant of Cornwall’s pleads with him to stop him from being fully blinded, believing it be a good service. This gives the audience hope that Gloucester may escape his fate, and also shows that not everyone in the kingdom is accepting of the violence the sisters enact. It could also show that servants can know better than their superiors, disrupting the great chain of being. However, the servant is killed soon after by Regan, representing how opposition to their rule will be dealt with.

• ‘As duteous to the vices of thy mistress As badness would desire‘ - Edgar, 4.5. Shows that he does not respect the loyalty of Oswald, although he remains loyal to his sinful father and mad king. Suggests his loyalty is not real, as he is not able to be honest, however Edgar also lies to Gloucester, suggesting he is a hypocrite.

False loyalty

This is shown by the trickery of the children to their parents, mainly Regan, Goneril and Edgar.

• ‘I love you more than words can wield the matter‘ - Gonerill, 1.1. Gonerill tells her father she loves him most, a lie as soon after she begins her plot against her. Her imagery of words as weapons is interesting, and could reflect that her lack of power as a woman leads her to use words instead of weapons.

• ‘Only she comes too short‘ - Regan, 1.1. Shows that Regan also lies to her father, but also instantly compares herself with Gonerill, which could be seen as foreshadowing to their battle over Edmond.

• ‘A credulous father and a brother noble‘ - Edmond, 1.2. This shows that Edmond does not respect his father or his brother, by insulting them both. He calls his father naive, and his brother noble, showing he believes this to be a negative trait. This is likely as nobleness would make you inclined to familial loyalty and trust, which Edmond would believe as weak. Edmond therefore betrays both his father and his brother.

Family

Mothers

Mothers have an overly negative representation within the play. Only twice mothers are directly referenced, Gloucester labelling Edmund’s mother a whore and Lear threatening to call his wife an adulteress and divorce her. Additionally, mother is used as a reference towards hysteria. This gives us the impression that mothers are wholly negative, causing madness and lust, with fits with the plays negative outlook towards female sexuality - the result of this being mothers.

• ‘a son for her cradle ere she had a husband for her bed‘ - Gloucester, 1.1. Gloucester discusses Edmund’s mother, mainly by discussing the fact Edmund was born out of wedlock and his mother was a whore. Although the fault is also his, he focuses on the fact that she had no husband, and not the fact he had a wife. This is also important as it is the only time mother’s are directly discussed, and it is in terms of them being whores.

  • Edgar’s mother is never mentioned or referenced, and it can be assumed that she is dead considering she would have otherwise been punished alongside Gloucester. Therefore, her attitude towards Edmund and her adulterous husband is never discussed.

• ‘I would divorce me from thy mother’s tomb, Sepulch’ring an adulteress‘ - King Lear, 2.4. Lear also only mentions his wife in terms of her supposed adultery, perhaps implying that he does believe she may have done so. If she was indeed an adultress, it could be said Gonerill follows in her footsteps. This confirms his wife to be dead, but also shows a lack of love for his wife.

• ‘O how this mother swells up toward my heart!‘ - King Lear, 2.4. Lear refers to ‘this mother’, which is another word used for hysteria, due to the belief it originated in the womb. It’s swelling up to his heart is another symptom of hysteria, as the womb was thought to rise up to the heart. This is the only other time mother is referenced, in terms of it being a mental disease.

• ‘But to the girdle the gods inherit; Beneath is all the fiend’s.‘ - Lear, 4.5. Lear here says that the gods have a woman from the waist up - so therefore her mind, but below this devil’s control. This implies that woman’s sexuality is demonic, but not male sexuality, emphasising the idea that lust is only a sin in a woman. This fits with the play’s animosity towards children and mothers, both are results of specifically female sexuality.

Children - sons vs daughters

• Lear has preferences between his daughters when Gloucester does not prefer his sons. Lear forces his daughters to look after him in his old age - forces them into motherhood.

• ‘I loved her most and thought to set my rest On her kind nursery‘ - King Lear, 1.1. King Lear continues to emphasise how he wishes to force his daughters to serve him even after his retirement, fixating on Cordelia, his favourite, to fulfill this role. He positions her as a mother by referring to her nursery, which also shows how he needs to be mothered and cared for in his old age. This therefore prevents her from having her own freedom and having her own kids, as she must raise her father in his madness. This could also be due to the loss of Lear’s wife, who may have fulfilled this caring role, now Cordelia must do it.

• ‘But I have a son, sir, by order of law, some year elder than this, who is yet no dearer in my account‘ - Gloucester, 1.1. This shows that Gloucester has no preferences between his children, contrasting to Lear in the next scene. This shows how blind Gloucester was to Edmund’s betrayal, as he had no preferences between his sons. It could also present that there is nothing parents can do to avoid their children’s betrayal - whether they have favourites or not, it will occur.

• ‘Gloucester’s bastard son Was kinder to his father than my daughter‘ - Lear, 4.5. This shows that Lear believes bastards to be kinder than daughters, showing that they are both equally as inherently sinful. However, this is an incorrect statement, as Edmund could be said to be crueler than Gonerill and Regan by causing his father’s blinding. This shows the chaos in the kingdom, Lear has only been missing a short amount of time and has missed this much. It also neglects Cordelia, showing that daughters are likely not more cruel than bastard sons.

• ‘Dowered with our curse, and strangered with our oath, Take her or leave her?‘ - Lear, 1.1. This shows Lear’s harsh language towards his daughter. He curses her as a dowry, showing that her marriage prospects are now dwindling. ‘strangered‘ tells us she has been disowned, showing his rash decision and his harshness. ‘Take her or leave her?‘ shows he has no care for what happens to her next, for if neither Burgundy or France took her she would likely be thrown out to die. This shows him as a bad father, as Cordelia’s actions did not warrant this. This is emphasised as she is his favourite daughter.

• ‘Into her womb convey sterility‘ - Lear, 1.4. This again shows Lear’s harshness and cruelty, as he curses her using the Gods - especially serious as Kings were seen as closer to gods. Additionally, he targets her womb, showing him targeting her womanhood and her value as a potential mother. It also shows his lack of care for the continuation of his kingdom, as none of his children have any heirs.

• ‘Abhorred villain! Unnatural, detested, brutish villain!’ - Gloucester, 2.1. This shows how fast Gloucester is to turn on his son, without any evidence other than Edmond’s testimony. While this shows his trust of Edmond, it may also present his lack of attention towards Edgar that he so quickly believes him to be evil. He also shows great anger via his repetitions, but also naivete and potentially confusion. His usage of ‘unnatural‘ could represent his beliefs in natural law, that a son must care for a father.

Fathers

Both fathers are looked after by their child, showing that age forces role reversals.

• ‘For thee, oppressed king, I am cast down,‘ - Cordelia, 5.3. This presents Cordelia as a parent figure, as she allows herself to receive punishment for her father. It presents her as a supportive source of strength, therefore as a mother and a father. This also acknowledges that neither of them deserve their punishment, showing the injustice of their situation.

• ‘Feel you your legs? You stand.‘ - Edgar, 4.5. This shows Edgar demanding his father, but also showing his concern by asking how he feels. This presents him as a father, by guiding his son to do as he wants. It also shows Edgar’s character growth via being able to order around something. However, Edgar is playing a role during this scene, which may mean he still has not achieved these traits.

• ‘[aside] Why I do trifle thus with his despair is done to cure it.‘ - Edgar 4.5. This shows Edgar justifying tricking his father into believing his suicide attempt as foiled. This can be seen as cruel, and show Edgar as acting like Edmund in his trickery. However, Edgar does this to save his father, showing that he truly does care for him and does not believe the character of Poor Tom is able to help him.

• ‘A credulous father and a brother noble‘ - Edmond, 2.1. This shows that Edmond does not respect his father or his brother, by insulting them both. He calls his father naive, and his brother noble, showing he believes this to be a negative trait. This is likely as nobleness would make you inclined to familial loyalty and trust, which Edmond would believe as weak.

• ‘We must do something i’th’heat.‘ - Gonerill, 1.1. This shows Gonerill and Regan as united, as Gonerill refers to them with the joint ‘we‘. Therefore, they are unified at the start of the play against their father, perhaps showing that they only join together with a common enemy. It also shows how quick they both are to begin to plot against their own father. However, it is Gonerill and not Regan who begins this demand for action, perhaps showing her as the more rash and demanding of the sisters.

• ‘What need you five and twenty? ten? or five?‘ - Gonerill, 2.4. Gonerill encourages Lear to believe he needs no soldiers, and therefore no protection. Her scaling down shows that her intent is to not let him have some soldiers, but to completely remove all of them. This would give her full control over Lear, as he would no longer have any one to defend him, giving her and Regan total control. This shows them openly conspiring against their father.

• ‘In, boy, go first‘ - Lear, 3.4. This shows Lear trying to protect the fool above himself, contrasting his past selfish behaviour in banishing Cordelia for opposing him. This could present the fool as a surrogate child, and Lear could be seen as attempting to treat him better than he did his daughters.

Siblings

All siblings have negative relationships with each other.

• ‘Sure, I shall never marry like my sisters.‘ - Cordelia, 1.1. This shows Cordelia separating herself from her sisters, before they separate from her. This presents her as disliking her sisters, and also presents she believes them to be in loveless marriages, which can be said to be accurate for Gonerill. This sets up a division between the daughters, Cordelia vs Gonerill and Regan.

• ‘We must do something i’th’heat.‘ - Gonerill, 1.1. This shows Gonerill and Regan as united, as Gonerill refers to them with the joint ‘we‘. Therefore, they are unified at the start of the play against their father, perhaps showing that they only join together with a common enemy. It also shows how quick they both are to begin to plot against their own father.

• ‘I never shall endure her. Dear, my lord, Be not familiar with her.‘ - Regan, 5.1. This shows splits appearing in her relationship with Gonerill, as she becomes jealous of her relationship with Edmond. The phrase ‘I shall never endure her‘ presents that Regan has never liked Gonerill, and has been acting this entire time, or forgotten their past alliance. The second half shows that Regan also distrusts Edmund to be anywhere near her, perhaps viewing her as a temptress. It also shows her as jealous.

• ‘her sister By her is poisoned: she confesses it.‘ - Gentleman, 5.3. This shows that their conflict came to a head by Gonerill poisoning Regan and killing her over Edmond. This shows the weakness of their relationship, that Edmond could destroy it, but also the callousness of Gonerill to murder her own sister. Her confessing to it, however, could suggest she feels some guilt, but as this occurs after Edmond’s death and before her suicide it is likely she does this knowing she will avoid justice.

• ‘Some villain hath done me wrong.‘ - Edgar, 1.2. This shows Edgar believes Edmond instantly, and blames others over his father and brother. Edgar is therefore shown as loyal to his family, but also naive, as he soon falls for his brother’s trap and his father does not show equal loyalty towards him.

• ‘A credulous father and a brother noble‘ - Edmond, 1.2. This shows that Edmond does not respect his father or his brother, by insulting them both. He calls his father naive, and his brother noble, showing he believes this to be a negative trait. This is likely as nobleness would make you inclined to familial loyalty and trust, which Edmond would believe as weak.

• ‘To the descent and dust below thy foot, A most toad-spotted traitor.‘ - Edgar, 5.3. This shows Edgar admitting the evils of his brother, and having the strength to confront him. He does this by presenting Edgar’s evil as infectious, which is strengthened by his bribery in 5.1, and could perhaps suggest he causes Regan and Gonerill’s conflict. He also labels him as an animal, presenting that Edgar believes he is more human than his brother, but also showing his anger is so strong he is not against using childish insults.

Age

Age is a common theme throughout the play, with it being the motive between Edmund’s betrayal and Lear’s splitting of the kingdom.

Old age

Old age can be seen as the reason for Lear’s madness and Gloucester naivete, but also the cause of their anagnorisis.

• ‘Know, that we have divided In three our kingdom‘ - Lear, 1.1. The word ‘know‘ shows this is not a suggestion, but a demand, and Lear has already decided this is to happen. Of course, no one else knows this yet, showing the chaos within the country as no one understands the plans of the king himself.

  • ‘The coronet part between you‘ - Lear, 1.1.

• ‘Abhorred villain! Unnatural, detested, brutish villain!’ - Gloucester, 2.1. This shows how fast Gloucester is to turn on his son, without any evidence other than Edmond’s testimony. While this shows his trust of Edmond, it may also present his lack of attention towards Edgar that he so quickly believes him to be evil. He also shows great anger via his repetitions, but also naivete and potentially confusion. His usage of ‘unnatural‘ could represent his beliefs in natural law, that a son must care for a father.

• ‘As you are old and reverend, should be wise.’ - Goneril, 1.4. This shows that age is linked with wiseness, but in Lear’s case he has not obtained wiseness and has instead gone mad. The younger characters recognising this perhaps shows the older characters are not able to recognise their own flaws. However, Goneril may be biased.

• The younger rises when the old doth fall

• ‘Whose age had charms in it, whose title more, To pluck the common bosom on his side‘ - Edmund, 5.3. This shows that Edmund is also fearful of the common people siding against them, as they will feel sympathy for Lear’s age and will recognise his past title. However, this fear may be a lie, as Edmund’s real intention was to secretly kill both Lear and Cordelia, so this could simply be an excuse.

• ‘defend you from seasons such as these? O I have ta’en Too little care of this‘ - Lear, 3.4. In the storm, Lear reflects on those who have no shelter, and admits guilt at doing little to help the poor. This shows Lear having a moment of clarity - he realises he should have done more good as King, but it is too late for this. The storm can be interpreted as a metaphor for the turbulence within the kingdom, so this could also be seen as Lear regretting not doing enough to prevent this war, in which the common people will mostly suffer as they serve as soldiers, or their homes will be destroyed in the destruction.

• ‘So distribution should undo excess, And each man have enough.‘ - Gloucester, 4.5. Gloucester also shows regret in not helping the poor enough, but in a different way. He speaks poorly about those with money for not distributing it so that there is no longer any poor. This is a Marxist idea, and is presented after Gloucester loses his eyes, therefore he is able to see clearer.

Youth

Young people are shown to betray their elders, and innately strong due to their age. However, it can be seen to cause their overconfidence and jealousy.

• ‘Conferring them on younger strengths while we Unburdened crawl towards death.‘ - Lear, 1.1. This shows Lear himself acknowledging that younger strengths are better at leading, which could be shown as false due to all the violence younger strengths then go on to cause. It also shows that Lear’s reasons for giving up the crown are selfish - he simply wants to die without any stress.

• ‘an idle and fond bondage in the oppression of aged tyranny‘ Gloucester reading Edmund’s letter, 1.2. This is a letter Edmund write but pretends is Edgar’s, which Gloucester believes, showing how little he knows his own children. Additionally, it shows that Edmund believes he is a slave to those older, which could be supported by Lear’s tyrannous actions in banishing Kent and Cordelia the scene before.

• ‘The younger rises when the old doth fall.‘ - Edmund, 3.3. Edmund declares this when plotting against his father, contrasting his idea that the old are simply naturally falling - he, Gonerill and Regan are forcing these falls upon them. This does not happen, a mix of old and young left, suggesting that neither age fell, and neither ideas are correct.

• ‘The wheel is come full circle; I am here.‘ - Edmund, 5.3. This strengths Edgar’s idea that people get what they deserve, by showing that Edmund may have been allowed to rise, but not forever as he soon falls. This again is the idea of Godly justice, as justice done by humans is rarely shown.

• ‘I never shall endure her. Dear, my lord, Be not familiar with her.‘ - Regan, 5.1. This shows splits appearing in her relationship with Gonerill, as she becomes jealous of her relationship with Edmond. The phrase ‘I shall never endure her‘ presents that Regan has never liked Gonerill, and has been acting this entire time, or forgotten their past alliance. The second half shows that Regan also distrusts Edmund to be anywhere near her, perhaps viewing her as a temptress. It also shows her as jealous.

• ‘her sister By her is poisoned: she confesses it.‘ - Gentleman, 5.3. This shows that their conflict came to a head by Gonerill poisoning Regan and killing her over Edmond. This shows the weakness of their relationship, that Edmond could destroy it, but also the callousness of Gonerill to murder her own sister. Her confessing to it, however, could suggest she feels some guilt, but as this occurs after Edmond’s death and before her suicide it is likely she does this knowing she will avoid justice.

• ‘[Regan plucks Gloucester’s beard]‘ - stage direction, 3.7. Regan’s plucking of Gloucester’s beard is unnecessary cruelty, used to demonstrate the lack of empathy she has. Plucking his beard could be seen as highlighting the age difference between them, or the gender difference, as she has no beard to pluck and therefore cannot receive this same treatment. It also highlights that a woman should not be doing these acts.

Man vs nature

Views on nature alter throughout the play, and how nature is resisted and accepted. In the end, it could be argued that Goneril, Regan and Edmund succumb to their own evil nature and Gloucester and Lear succumb to their natural age.

Nature

It could be argued that the younger and older characters have differing opinions on man’s nature. Gloucester and Lear believe it in the beginning to be the representation of Natural Law, while Edmund believes it to be humans without law. After patriarchal families are disrupted, Lear and Gloucester change their views, believing nature is as beasts are and the existence of bastards. Once patriarchy is restored by Cordelia and Edgar, Edmund believes that his beliefs on nature are unique, showing the shifting beliefs throughout the play.

• ‘Abhorred villain! Unnatural, detested, brutish villain!’ - Gloucester, 2.1. This shows how fast Gloucester is to turn on his son, without any evidence other than Edmond’s testimony. While this shows his trust of Edmond, it may also present his lack of attention towards Edgar that he so quickly believes him to be evil. He also shows great anger via his repetitions, but also naivete and potential confusion. His usage of ‘unnatural‘ could represent his beliefs in natural law, that a son must care for a father.

• ‘a wretch whom Nature is ashamed Almost t’ acknowledge hers.’ - Lear, 1.1. He insults Cordelia by suggesting nature does not want her, which could see him personifying himself as nature. As the king, he upholds primogeniture and patriarchy - representations of his beliefs about human nature. His refusal to accept her due to her refusal to obey is because she goes against these things by doing so. Alternatively, he refers to the goddess nature, showing his control over the gods.

• ‘Nature, art my goddess … I stand in the plague of custom’ - Edmund, 1.2. He affirms his services to nature, showing he believes it to agree with his outlook of Machiavellianism, not the outlook of Gloucester and Lear. This could also be due to his bastard birth.

• ‘Some good I mean to do Despite of mine own nature.‘ - Edmund, 5.3. Edmund, on his deathbed, appears to control his past evil nature to do good. This could be seen as an act of repentance, however no one on the stage seems to accept his pleas, even though they unconditionally accept the apologies of Lear. Could show that the King is higher being, and therefore more willingly accepted, or perhaps they are unable to forgive him until they see his deed actually saves Cordelia. His nature, his evil, shows he changes views that to be natural is to be evil, and believes it is just himself.

  • Additionally, it could be questioned whether he is genuine. Perhaps he simply does this as he is dying and wishes to be remembered fondly, or perhaps when confronted with his evil he does feel genuine remorse.

• ‘Allow not nature more than nature needs, Man’s life is cheap as beast’s.’ - Lear, 2.4. Lear argues that if humans only live according to their needs, then their lives are equivalent to beasts. He uses this as an argument to keep his knights, as Regan and Goneril argue he does not need them. This shows he believes nature is that of beasts, and man is separated from this due to his needs - this could show agreement that nature is not natural law.

• ‘Loyal and natural boy, I’ll work the means To make thee capable.‘ - Gloucester, 2.1. This shows Gloucester giving Edmund what he wants, a Lordship, land and money. He is manipulated into doing this, and believing Edmund to be loyal by telling him of his brother’s treachery and attempting to defend him. He uses ‘natural‘ as a compliment, instead of the insult by bringing up his bastard origin, but naturally good and loyal to his father. It could also show him manipulated to believing Edmund’s views on nature.

Nature of women - refer to gender heading

Blindness vs insight

Blindness is a theme throughout the play, linked to that of nothingness. While physical blindings, such as Gloucesters, are shown, metaphorical blindness is the biggest theme.

Physical blindness

The blinding scene is often viewed as a stage stigma, a physical abomination to symbolise the errors of a character, which Shakespeare does in Titus Andronicus. Gloucester’s failures are reflected on later by Edgar - his cheating and naivete.

• ‘My father, parti-eyed? World, world, O world!‘ - Edgar, 4.1. He describes his father after his blinding, showing he’s blind.

• ‘Out, vile jelly‘ - Cornwall, 3.7. Cornwall remarks this to Gloucester after he himself has been stabbed, perhaps showing Cornwall doesn’t want Gloucester to see him in such a state. ‘jelly‘ emphasises the graphic nature of the scene.

Metaphorical blindness

Both Lear and Gloucester are metaphorically blind to the plots around them, and this therefore causes their falls.

• ‘I stumbled when I saw‘ - Gloucester, 4.1. He reflects that he was blind to the actions of Edmund, and to the truth about Edgar, even before his blinding. Could be seen as him suggesting his sight made him overconfident in his own understanding of the world, and therefore he believes he deserves his blindness.

  • ‘if it be nothing, I shall not need spectacles‘ - Gloucester, 1.2.

    • A joke, but shows Gloucester’s age and his failing sight - perhaps metaphorically.

  • ‘Loyal and natural boy, I’ll work the means to make thee capable‘ - Gloucester, 2.1.

  • ‘O, my follies! Then Edgar was abused‘ - Gloucester, 3.7.

  • ‘Abhorred villain! Unnatural, detested, brutish villain!’ - Gloucester, 1.2.

• Lear believes Regan and Goneril’s professions of love, which are soon found to be false when they betray him. He ignores the truth of Cordelia’s words as they are simply unappealing to him, showing him to be blind to the truth, and choosing to see what he likes better.

  • ‘I love you more than words can wield the matter‘ - Goneril, 1.1.

  • ‘Only she comes too short‘ - Regan, 1.1.

  • ‘I love your majesty, According to my bond‘ - Cordelia, 1.1.

  • ‘See better, Lear‘ - Kent, 1.1.

    • Kent is begging Lear here to see the truth in Cordelia, and the lies in her sisters, and to ignore what things are at face value to see the truth. ‘Lear‘ shows he has lost respect for him, as he no longer refers to him by his royal title.

True sight

Blindness causes the downfalls of Gloucester and Lear, and they come closest to true sight during their lowest points, real blindness and madness, as Ryan argues.

• ‘So distribution should undo excess, And each man have enough‘ - Gloucester, 4.5. Gloucester is shown to really see the world when he has become blind, perhaps showing this has allowed him to see the real world.

  • ‘As flies to wanton boys are we to th’gods, They kill us for their sport‘ - Gloucester, 4.1. This could be seen as Gloucester’s true sight, or his nihilism after his blinding and son’s betrayal.

• ‘They told me I was everything; ‘tis a lie, I am not ague-proof’ - Lear, 4.5. Lear reflects that Goneril and Regan lied, but also on his own weakness, which he tried hard to deny and avoid. This could show him developing weakness in madness.

  • ‘When we are born, we cry that we are come To this great stage of fools‘ - Lear, 4.5. Lear seems to disagree with Gloucester, who believes it is the Gods who cause blame, and instead blames humanity, which is better depicted by Shakespeare.

  • ‘But to the girdle the gods inherit; Beneath is all the fiend’s.‘ - Lear, 4.5. Lear here says that the gods have a woman from the waist up - so therefore her mind, but below this devil’s control. This implies that woman’s sexuality is demonic, but not male sexuality, emphasising the idea that lust is only a sin in a woman. This fits with the play’s animosity towards children and mothers, both are results of specifically female sexuality. As he says this within madness, this could suggests that the play itself is anti family, and believes children are more harmful than beneficial.

• ‘that men Are as the time is‘ - Edmund, 5.3. He says this when attempting to bribe a guard, but this could also be seen as a true reflection of his own Machiavellian beliefs. It could be suggested he believes everyone is like this as a defense of his own cruelty, as a pervasive technique or perhaps this is true.

  • However, characters such as Gloucester, Oswald, Cordelia and Kent show that their loyalties do not waver, disagreeing with him.

Communication and presentation

Letter motif

Letters are shown as methods of miscommunication, as shown by Gloucester being tricked by Edmund. However, they are also shown as necessary, as they allow Kent and Cordelia to continue communication and therefore help to save Lear.

• ‘Come, if it be nothing, I shall not need spectacles.‘ - Gloucester, 1.2. Edmund, like Cordelia, tells his father nothing. His nothing is a lie, like Cordelia’s, as he has a fake letter from Edgar plotting his father’s death. By saying nothing, he tempts his father to look further, showing again that nothingness does not truly exist. This shows letters being used as elements of trickery.

  • ‘an idle and fond bondage in the oppression of aged tyranny‘ Gloucester reading Edmund’s letter, 1.2. This is a letter Edmund write but pretends is Edgar’s, which Gloucester believes, showing how little he knows his own children. Additionally, it shows that Edmund believes he is a slave to those older, which could be supported by Lear’s tyrannous actions in banishing Kent and Cordelia the scene before.

• ‘You have many opportunities to cut him off.‘ - Gonerill’s letter to Edmund read by Edgar, 4.5. This shows Gonerill plotting to kill her husband with Edmund, showing that letters are used for plotting. This reflects on her many sins, and also that letters are used. It also shows that letters can be used as evidence against people, similarly to how a letter is used against Gloucester.

  • ‘True or false, it hath made thee Earl of Gloucester.‘ - Cornwall, 3.5. This shows that Cornwall does not care about the truth, and only what causes him to gain, such as deposing Gloucester. It also shows that Edmund would be rewarded for lying, as long as it results in Cornwall’s gain.

• ‘Fortune, goodnight, Smile once more, turn thy wheel. [he sleeps]‘ - Kent + stage direction, 2.2. His happy conversation with fortune, telling it ‘goodnight‘ ‘smile once more‘ shows that he is hopeful for the future, and therefore is not scared of fortune. By saying ‘smile once more‘ he is telling fortune she can be happy again, as Cordelia’s letter foretells of a good future. He also shows his overconfidence by daring fortune to ‘turn thy wheel’, believing this signifies a good future for him and Lear, without realising things can and do get worse. This hope he has for Cordelia’s success does not turn out well, showing this hope to be unfounded. This shows letters as elements of hope.

Lies

Lies are used throughout the play, and made clear to the audience via dramatic irony, or in retrospect.

• ‘Come, if it be nothing, I shall not need spectacles.‘ - Gloucester, 1.2. Edmund, like Cordelia, tells his father nothing. His nothing is a lie, like Cordelia’s, as he has a fake letter from Edgar plotting his father’s death. By saying nothing, he tempts his father to look further, showing again that nothingness does not truly exist. This shows letters being used as elements of trickery.

  • ‘an idle and fond bondage in the oppression of aged tyranny‘ Gloucester reading Edmund’s letter, 1.2. This is a letter Edmund write but pretends is Edgar’s, which Gloucester believes, showing how little he knows his own children. Additionally, it shows that Edmund believes he is a slave to those older, which could be supported by Lear’s tyrannous actions in banishing Kent and Cordelia the scene before.

  • ‘Some villain hath done me wrong.‘ - Edgar, 1.2. This shows Edgar believes Edmond instantly, and blames others over his father and brother. Edgar is therefore shown as loyal to his family, but also naive, as he soon falls for his brother’s trap and his father does not show equal loyalty towards him.

• ‘I love you more than words can wield the matter‘ - Gonerill, 1.1. Gonerill tells her father she loves him most, a lie as soon after she begins her plot against her. Her imagery of words as weapons is interesting, and could reflect that her lack of power as a woman leads her to use words instead of weapons.

• ‘Only she comes too short‘ - Regan, 1.1. Shows that Regan also lies to her father, but also instantly compares herself with Gonerill, which could be seen as foreshadowing to their battle over Edmond.

Miscommunication

This is shown throughout the play, invoking dramatic irony, but also showcasing the chaos present in the kingdom.

• ‘Flew on him and amongst them felled him dead‘ - Messenger, 4.2. This demonstrates how women are presented within this era. The messenger frames Cornwall as the murderer of the servant, when it was in fact Regan. This could be for many reasons. As the messenger was not a witness, he was told this by another. Cornwall may have claimed to be the murderer to present himself as stronger, as he was able to kill the one who killed him. However, this may be to disguise the fact it was Regan, as a woman committing murder would have been seen as a negative, as this is her fulfilling a masculine role. It therefore protects her from the harmful rumours that would have been caused by admitting to the murder. Alternatively, the messenger may not know the true murder, and assumes it to be Cornwall as he is the man, and should therefore be the stronger.

• ‘heard of no likely wars toward ‘twixt the Dukes of Cornwall and Albany?‘ - Curan, 2.1. This again emphasises the chaos within the kingdom, as this time a servant believes Cornwall and Albany are fighting. However this is a false rumour - before his death they never quarrell and he fights alongside Cornwall’s army against France. This is likely believed due to the fact the nation is split, and many believed that this would cause both kings to fight one another.

False identities

Kent and Edgar hide their identities after they are falsely accused and punished by their father figures. Kent aims to continue to serve Lear, however Edgar accidentally helps his father, although he does dedicate to his role. However, this is not shown as harmful as other lies, as they lie for the benefit of others, not themselves.

• ‘thou master, whom thou lov’st‘ - Kent, 1.4. Kent instantly forgives Lear for banishing, without Lear acknowledging his wrongs, apologising or even pretending to care. This shows Kent’s loyalty, but also potentially his stupidity, as the fool acknowledges.

• ‘Marry, here’s grace and a codpiece; that’s a wise man and a fool.‘ - Fool, 3.2. He refers to Kent as a codpiece, which was a pouch that covered genitals, so therefore calls him genitals. He then calls him a fool, even though he himself is a fool, he believes himself wise enough to label Kent as a fool for being around Lear. Additionally, it suggests he recognises Kent for who he is, emphasising the fool’s honesty. He also refers to Lear as a wise man, showing that he respects the mad Lear more than Kent. It also interesting that he receives no punishment for such name calling, which represents Shakespeare’s common use of fools to speak truth with no punishment.

• ‘The country gives me proof and precedent Of Bedlam beggars.‘ - Edgar, 2.3. Edgar states how he is using conceptions of the people around him of mad people in order to create his character, and bases it off Bedlam beggars - mad beggars.

• ‘This is the foul Flibbertigibbet‘ - Edgar as Poor Tom, 3.4. Following his modelling of Bedlam beggars, Edgar conforms to the idea that mad men were possessed by demons, which is why they were often abused in bedlam as a cure. The fricative alliteration highlights the harshness of his speech, used to fake fear.

Truth

Truth goes punished often throughout King Lear, especially by Lear, except in the fool. When Lear accepts the truth of his madness, he has finally understood the truth of Cordelia and Kent.

• ‘I love your majesty According to my bond, no more nor less.‘ - Cordelia, 1.1. Cordelia opposes her father in this scene, going against the expectations for a daughter to serve her father, especially as she has no husband yet. However, it can be argued she is enforcing the normal laws of the time by emphasising the power of her bond, she is attempting to remind her father of the normal order - patriarchy - in which her love for her father is expected and needs no declaration.

• ‘Be Kent unmannerly When Lear is mad.‘ - Kent, 1.1. This shows Kent attempting to convince Lear to change his mind, which could present him as mad as he has just seen what happened to Cordelia. Additionally, it shows other people have acknowledged his madness, but only Kent is willing to intervene, showing his loyalty to the country.

• ‘mad’st thy daughters thy mothers‘ - Fool, 1.4. The fool emphasises to Lear that giving away his power was a poor decision, as now his daughters have as much control over him as mothers. This can reflect on Kahn’s argument that Lear is searching for a mother figure, and finds it in his daughters.

• ‘I am a very foolish, fond old man‘ - Lear, 4.6. This shows Lear finally admitting his madness to his main victim, Cordelia, which can be seen as an apology for his past acts. The fricative alliteration shows his harshness, emphasising that he is potentially still confused.

Gods

The play is Pagan, however it certainly employs Christian morals. Characters are different in whether they praise, or ever acknowledge the Gods.

Cries for Godly intervention

This is done mainly by the older characters, and Edmund, however he could be seen as twisting the truth of the Gods to his own means.

• ‘Dowered with our curse, and strangered with our oath, Take her or leave her?‘ - Lear, 1.1. This shows Lear’s harsh language towards his daughter. He curses her as a dowry, showing that her marriage prospects are now dwindling. ‘strangered‘ tells us she has been disowned, showing his rash decision and his harshness. ‘Take her or leave her?‘ shows he has no care for what happens to her next, for if neither Burgundy or France took her she would likely be thrown out to die. This shows him as a bad father, as Cordelia’s actions did not warrant this. This is emphasised as she is his favourite daughter.

• ‘Into her womb convey sterility‘ - Lear, 1.4. This again shows Lear’s harshness and cruelty, as he curses her using the Gods - especially serious as Kings were seen as closer to gods. Additionally, he targets her womb, showing him targeting her womanhood and her value as a potential mother. It also shows his lack of care for the continuation of his kingdom, as none of his children have any heirs.

• ‘Jupiter‘ ‘Apollo‘ - Lear, 1.1. Referenced in the opening scene to reinforce to the audience that the characters are Pagan, and therefore suggest this is the reason their cries for mercy are unsuccessful - they believe in the wrong Gods. Also reinforces the Great Chain of Being, Lear speaks to these Gods by name as he is closest to them.

• ‘This judgement of the heavens … Touches us not with pity‘ - Edgar, 5.3. He could be seen as adopting his father’s beliefs of just Gods in order to justify the deaths he has witnessed. This is similar to Christian ideas of judgement not fully being understood by humans, but always being ‘fair‘.

  • ‘The dark and vicious place where thee he got Cost him his eyes.‘ - Edgar, 5.3. ‘The dark and vicious place’ refers to a woman, namely a woman’s womb, where Edmund was formed via the acts of adultery and lust. While his negative language may refer to these sinful acts, it may also refer to all women as a whole, and therefore all children may be viewed in this negative light. He also blames this as the reason Gloucester was blinded, which can be seen as unfair as this was many years ago, and Gloucester was blinded for his support of Lear.

• ‘Nature, art my goddess.’

• ‘As flies to wanton boys are we to th’ gods; They kill us for their sport.’ - Gloucester, 4.1. This shows that Gloucester still believes the Gods are real, but shifts from believing in their kindness to their cruelty. While this could show his new world view, it could also show his ignorance - this is the only time he has ever suffered, so therefore the only time he ever considered the world to be cruel.

  • ‘By the kind gods’ - Gloucester, 4.7. Said as he is tortured by Regan, showing him still believing the Gods are good and will save him. The very next scene he discards this idea.

Free will

The play seems to argue that it is not the Gods, but humanity, that ultimately influence the world around them.

• ‘Thou swear’st thy gods in vain.’ - Kent, 1.1. This suggests that God’s have no control over Kent, therefore he acts with his own free will to oppose Lear. This could suggest that God’s have no control over individual actions. However, it could also suggest Lear has no control over the Gods, opposing the Great Chain of Being as these are Pagan Gods.

• ‘that men Are as the time is‘ - Edgar, 5.3. Edgar therefore suggests that men have no loyalties, and change along with the time to whatever is most appropriate. Says this as bribing a man to kill Cordelia, perhaps showing him justifying this act to the man, by suggesting it is how men are generally.

  • Is this shown throughout the play? Lear has fluctuating moods (Cordelia, Kent), but Cordelia and Kent do not change with time against Lear. This suggests that this only applies to the power hungry characters.

• ‘The wheel is come full circle; I am here.‘ - Edmund, 5.3. Edmund references the wheel of fortune, showing how he rose to the top, only to fall to the bottom via his death. He says this while on the ground, further emphasising how low he has come. It also shows his change in nature, as at the beginning of the play he mocks his father’s superstitious beliefs, and now he brings them up himself. He does not reference the Gods, but the wheel of fortune, an idea viewed as bad by some religious people.

Christian morals

The play shows Christian morals, as it would likely be required to do appeal to a renaissance audience.

• ‘Ere long you are like to hear… A mistress’s command.‘ - Gonerill, 4.2. Gonerill suggests to Edmund the possibility of her committing adultery with him, showing her lust has overcome any of her virtues, and she becomes more masculine as lust is normally presented as a male trait. She emphasises this by saying command, showing she still wishes to order Edmund around. This contrasts her and Gonerill - she wishes for Edmund to obey her, and Regan wishes for him to rule over her. A character you are meant to dislike is presented as adulterous as a way to appeal to the Christian morals at the time.

• ‘Jupiter‘ ‘Apollo‘ - Lear, 1.1. Referenced in the opening scene to reinforce to the audience that the characters are Pagan, and therefore suggest this is the reason their cries for mercy are unsuccessful - they believe in the wrong Gods. Also reinforces the Great Chain of Being, Lear speaks to these Gods by name as he is closest to them. This was a Christian idea.

• The presentations of ‘evil‘ women as masculine aligns with Christian ideals:

  • ‘I must change names at home and give the distaff Into my husband’s hands.‘ - Gonerill, 4.2. Gonerill is saying she believes her husband to be the feminine one, likely due to his weakness (‘milk-livered man‘ - Gonerill, 4.2.), therefore they should change roles - he should spin the wool and become a housewife, and in turn she should be the general, and the King in charge of the country. This shows her ambition, she believes herself to be superior to a man, and believes any restraint to be cowardly. This shows her becoming more masculine by aspiring to a man’s position.

  • ‘Give me thy sword‘ - Regan, 3.7. Regan orders this of a servant, in order to kill her husband’s attacker. This shows her becoming more masculine, as she commits the act of murder. However, her husband was badly wounded and likely losing this fight, so this can be interpreted as her trying to save and protect him. She does this in a dishonourable way, as stabbing him while he still fought her husband suggests she could not have beaten the man in a fight. This could suggest masculinity is harmful, as it is obtained by murder and lust.

• ‘The dark and vicious place where thee he got Cost him his eyes.‘ - Edgar, 5.3. ‘The dark and vicious place’ refers to a woman, namely a woman’s womb, where Edmund was formed via the acts of adultery and lust. While his negative language may refer to these sinful acts, it may also refer to all women as a whole, and therefore all children may be viewed in this negative light. He also blames this as the reason Gloucester was blinded, which can be seen as unfair as this was many years ago, and Gloucester was blinded for his support of Lear. This links to Christian morals, as ‘bastards‘ are negatively viewed as they are born out of wedlock, which is only important if Christian beliefs are followed.

Nihilism

Some argue the play is overall nihilistic, however hope is expressed throughout the play, even though it is soon crushed.

Nothingness

Nothingness is a key theme throughout the play. It is used by Lear to pressure Cordelia into answering him, and used by Edmund to trick his father into answering. In both cases, ‘nothing’ is a lie.

• ‘Nothing will come of nothing, speak again.‘ - King Lear, 1.1. This is said to Cordelia when she refuses to boast of her love for Lear, showing that with her lack of response she will get no reward, and therefore no dowry. He then demands her to change her words, in order to alter her reward, showing he truly does not wish to give her nothing, but feels forced to by her response. Yet, Cordelia does not meet this fate of nothingness, and marries the King of France, showing Lear was incorrect, and things will still come from nothing. Either way, nothing implies that things would remain the same, that no action would occur, which is not true, Cordelia is disinherited. Additionally, Cordelia’s nothing is not nothing, she loves her father and highly disagrees with his methods, therefore she has something to say.

• ‘Come, if it be nothing, I shall not need spectacles.‘ - Gloucester, 1.2. Edmund, like Cordelia, tells his father nothing. His nothing is a lie, like Cordelia’s, as he has a fake letter from Edgar plotting his father’s death. By saying nothing, he tempts his father to look further, showing again that nothingness does not truly exist.

Apathy

Many characters are shown to give up and embrace nihilistic ideas in times of crisis, such as Lear and Gloucester. However Lear does not completely give up, and regains hope with Cordelia, while Gloucester doesn’t regain hope before his death.

• ‘When we are born, we cry that we are come To this great stage of fools.‘ - King Lear, 4.5. The great stage of fools likely refers to the political landscape at the time, as anyone born into it is likely to suffer as a result, a thought emphasised by the fact that 3 characters survive to the end, with one vowing to commit suicide. ‘stage‘ implies that they are performing for someone, likely the Gods, illustrating how little control they have over humanity, unlike Gloucester who believes they wish to hurt humanity.

• ‘As flies to wanton boys are we to th’gods, They kill us for their sport.‘ - Gloucester, 4.1. This compares unempathetic sons to the gods, saying that they get their fun from torturing humanity, as they do from torturing flies. This quote shows Gloucester as truly nihilistic - there is no point to anything if the gods just wish to see people suffer, as humanity is under control of the gods. His pain is further illustrated by his past devotion to the gods.

  • ‘If Edgar live, O bless him.‘ - Gloucester, 4.5. This shows us that Gloucester is not truly nihilistic, as he cannot help but ask for the gods favour upon his son, who he regrets his treatment of. If he was truly nihilistic, he would both not care for his son's outcome, and believe the gods would never provide his son with a good outcome. He does this before his suicide, further showing that he cannot help but believe in the goodness of the gods and support his son. His nihilism is simply due to his pain, both from being blinded and the reveal of Edmund’s betrayal.

Hope

There is no absence of hope throughout the play, with Gloucester and Edgar reuniting, Cordelia’s arrival and Albany’s discovery of the adultery all serving to provide the audience with hope of a better outcome. However, this hope is usually crushed soon afterwards.

• ‘Fortune, goodnight, Smile once more, turn thy wheel. [he sleeps]‘ - Kent + stage direction, 2.2. His happy conversation with fortune, telling it ‘goodnight‘ ‘smile once more‘ shows that he is hopeful for the future, and therefore is not scared of fortune. By saying ‘smile once more‘ he is telling fortune she can be happy again, as Cordelia’s letter foretells of a good future. He also shows his overconfidence by daring fortune to ‘turn thy wheel’, believing this signifies a good future for him and Lear, without realising things can and do get worse. This hope he has for Cordelia’s success does not turn out well, showing this hope to be unfounded.

• ‘better service have I never done you Than now to bid you hold‘ - Servant, 3.7. During Gloucester’s blinding, a servant of Cornwall’s pleads with him to stop him from being fully blinded, believing it be a good service. This gives the audience hope that Gloucester may escape his fate, and also shows that not everyone in the kingdom is accepting of the violence the sisters enact. It could also show that servants can know better than their superiors, disrupting the great chain of being. However, the servant is killed soon after by Regan, representing how opposition to their rule will be dealt with.

• ‘Edmond, I arrest thee On capital treason, and in thy attaint This gilded serpent.‘ - Albany, 5.3. This scene would have been extremely satisfying to an audience, as Edmund and Gonerill had gone long uncaught. ‘thy attaint‘ tells us that Gonerill has been dishonoured by Edmund, due to her lust towards. ‘gilded serpent‘ labels her sneaky and animal like, but gilded shows how she hides this nature, by bejewelling herself to appear as a worthy queen, but perhaps also to appear as a human. This moment of hope at their arrest is actually fulfilled, as both die soon later.

• ‘for my writ Is one the life of Lear and on Cordelia. Nay, send in time.‘ - Edmund, 5.3. His change of heart would have been satisfying for the audience, but key is this reveal, which while bringing the dread of their deaths also brings the hope of their survival. By pleading them to hurry, Edmond gives a sense of urgency which would have caused the audience to feel panic alongside the characters on the stage. This is another quelled moment of hope, as Lear soon enters with dead Cordelia, but this is still hope. The audience and the character’s devastation shows that no one has succumb to nihilism, as they are still able to feel hope.

• ‘we that are young Shall never see so much, nor live so long.‘ - Edgar, 5.3. This is the closing line of the play, representing how Shakespeare wanted audiences to feel leaving the play - that is, focusing on the future. Edgar tells those around him that this incident shall never be repeated, as those young shall be able to avoid the mistakes of Lear. By saying ‘see so much‘ he brings in the theme of blindness - perhaps young people will be blind to the evils of the world as they are used to it, instead of not seeing it. He may even be implying this will repeat, as the young are doomed to be blind. He also says ‘live so long‘, telling us that Edgar does believe Lear has lived too long, and perhaps this is why his mistakes have been made, he became too old and mad to rule sensibly. Therefore, Edgar says that no one else shall live as long as he did as King, in order to prevent a repetition of this event.

• ‘What you charged me with, that I have done, And more, much more‘ - Edmond, 5.3. This shows Edmund admitting his crimes, and therefore showing that Edgar has brought him to justice by defeating him. This at the end of the play can also be seen as giving hope that the other criminals, Regan and Goneril, will soon also be brought to justice.

• ‘The low’st and most dejected thing of fortune, Stands still in esperance‘ - Edgar, 4.1. Edgar when reflecting on his fortunes. This shows that Edgar still has hope, even when reduced to pretending to be a mad beggar, and also shows why he is acting. He means that those who have suffered the most, can only gain in fortunes, as he does.

Greek tragedy

Lear shows many elements of classical Greek tragedy, but his plays are also a product of the contemporary era, and cannot simply be labelled classical Greek tragedies.

The ‘falls‘

• It can be said many characters throughout the play fall, therefore the central element is not one central character falling

• Lear:

  • Lear moves from being the King, to being a King in name only, to being homeless and dressed in rags.

    • ‘only we shall retain The name‘ - King Lear, 1.1. Lear here relinquishes all of his power but keeps his name, suggesting Lear wants to avoid the hard work of ruling a Kingdom, but still wants the privileges and respect that comes with being a king. This paints Lear as weak. Additionally, the use of ‘we‘ shows that he is not accustomed to not being king, and is perhaps not fully ready to accept this change, even after he himself proposes it.

  • Lear does not have a simple hamartia, as although his rage could be pointed as the cause of his banishment of Cordelia, impulsivity is attributed to his splitting of the Kingdom and his madness is his weakness throughout the rest of the play.

    • ‘The best and soundest of his time hath been but rash‘ - Gonerill, 1.1. This tells us Lear’s impulsivity has always been an issue, even when he was in the prime of his age and being a good king. It also implies that if at his best he was rash, then in his old age his rashness can only increase. This gives reasoning to Gonerill and Regan’s attempts to remove Lear from power, as they voice genuine concerns about his rationality.

    • ‘This is not Lear‘ - King Lear, 1.4. This shows us that Lear is unable to recognise himself, perhaps as he no longer has the powers of kingship, his rashness has caused him to lose his identity, or his madness has caused him to forget himself. Furthermore, this could be him pretending not to recognise himself to annoy and mock Gonerill, which still presents himself as foolish and childish.

  • Anagnorisis - when a principal character recognises a character’s true identity or the true nature of their circumstances.

    • ‘I did her wrong‘ - King Lear, 1.5. Lear says this to the fool in 1.5 without prompting, perhaps showing his madness taking over as he is unable to control his wandering mind. This quote could be referring to Gonerill, who he curses in 1.4, or Cordelia who he disgraces in 1.1, or all of them. His realisation that he did Cordelia wrong may come from the way Goneril treated him.

• Gloucester:

  • He falls from Lord of Gloucester to a blinded man guided by a beggar, and falls due to his naivete in believing Edmund that Edgar wished to kill him.

    • ‘Out, vile jelly‘ - Cornwall, 3.7. This shows us the cruelty of the daughter’s and their plans, they blind an old man. However, this is done by Cornwall, not the daughters, perhaps showing that he has encouraged them towards this cruelty.

    • ‘Loyal and natural boy, I’ll work the means To make thee capable.‘ - Gloucester, 2.1. This shows Gloucester giving Edmund what he wants, a Lordship, land and money. He is manipulated into doing this, and believing Edmund to be loyal by telling him of his brother’s treachery and attempting to defend him. He uses ‘natural‘ as a compliment, instead of the insult by bringing up his bastard origin, but naturally good and loyal to his father.

    • ‘O, my follies! Then Edgar was abused.‘ - Gloucester, 3.7. Gloucester realises his mistakes in trusting Edmund, but only after his blinding, when it is too late to punish his son and find Edmund. This emphasises his past blindness and naivete, and he is punished by the Gods for this by his blinding.

    • ‘A credulous father and a brother noble,‘ - Edmund, 1.2. He reflects on his ease in manipulating his father and brother, as one is naive and one too noble to expect any attempts at harm from his own brother. The impersonal way he discusses them shows his lack of remorse or empathy for his own family, which could be attributed to his bastardry.

• Edmund:

  • He rises from bastard son, to heir, to Lord, to potential King through marriage to either Gonerill or Regan, but then falls when Edgar returns to kill him.

    • ‘The wheel is come full circle; I am here.‘ - Edmund, 5.3. Edmund references the wheel of fortune, showing how he rose to the top, only to fall to the bottom via his death. He says this while on the ground, further emphasising how low he has come. It also shows his change in nature, as at the beginning of the play he mocks his father’s superstitious beliefs, and now he brings them up himself.

    • ‘Loyal and natural boy, I’ll work the means To make thee capable.‘ - Gloucester, 2.1. This shows Gloucester giving Edmund what he wants, a Lordship, land and money. He is manipulated into doing this, and believing Edmund to be loyal by telling him of his brother’s treachery and attempting to defend him. He uses ‘natural‘ as a compliment, instead of the insult by bringing up his bastard origin, but naturally good and loyal to his father.

    • ‘True or false, it hath made thee Earl of Gloucester‘ - Cornwall, 3.5. This illustrates that the truth does not matter - lies are good if they allow people to get what they want. Therefore, Cornwall does not care if Edmund has truly betrayed Gloucester, as his downfall benefits Cornwall. It also shows that Edmund is willing to betray his own family, again, to get what he wants

    • ‘Ere long you are like to hear… A mistress’s command.‘ - Gonerill, 4.2. Gonerill offers Edmund to be her mistress, showing he is courting a queen.

    • ‘Witness the world that I create thee here My lord and master‘ - Regan, 5.3. Regan even proposes to him, showing how close he was to reaching ultimate power - a King.

Classical techniques

• Many classical techniques are used by Shakespeare throughout the play.

• Blindness = wiseness:

  • Gloucester is shown to become wiser once his eyes are removed.

    • ‘Out, vile jelly‘ - Cornwall, 3.7.

    • ‘Loyal and natural boy, I’ll work the means To make thee capable.‘ - Gloucester, 2.1. This shows Gloucester giving Edmund what he wants, a Lordship, land and money. He is manipulated into doing this, and believing Edmund to be loyal by telling him of his brother’s treachery and attempting to defend him. He uses ‘natural‘ as a compliment, instead of the insult by bringing up his bastard origin, but naturally good and loyal to his father.

    • ‘O, my follies! Then Edgar was abused.‘ - Gloucester, 3.7. Gloucester realises his mistakes in trusting Edmund, but only after his blinding, when it is too late to punish his son and find Edmund. This emphasises his past blindness and naivete, and he is punished by the Gods for this by his blinding.

    • ‘I stumbled when I saw.‘ - Gloucester, 4.1. Gloucester reveals that sight brought him no benefits, as he still made mistakes when the truth was visible to him. This tells us sight is meaningless, as disguises and lies are easily fooled by eyes.

• Nemesis, character’s get what they deserve:

  • Gloucester is punished for his naivete via blinding, and his adultery.

    • ‘The dark and vicious place where thee he got Cost him his eyes.‘ - Edgar, 5.3. ‘The dark and vicious place’ refers to a woman, namely a woman’s womb, where Edmund was formed via the acts of adultery and lust. While his negative language may refer to these sinful acts, it may also refer to all women as a whole, and therefore all children may be viewed in this negative light. He also blames this as the reason Gloucester was blinded, which can be seen as unfair as this was many years ago, and Gloucester was blinded for his support of Lear.

  • Gonerill and Regan both engage in sinful acts, namely murder, lust and their treatment of Lear, and are punished:

    • ‘your lady; and her sister By her is poisoned‘ - gentleman, 5.3. This shows us that the sisters turned on each other, one killing the other and one then committing suicide.

  • Edmund, for betraying his whole family.

  • Lear, for his folly in splitting the Kingdoms.

  • Cordelia can be seen as the only one to not deserve her death, but perhaps her death was to illustrate the Gods wrath in what had been done, killing all of Lear’s children in punishment for his folly and as a reminder to not repeat what he did.

Contemporary techniques

• However, Shakespeare also uses contemporary techniques:

• He follows the trend of sexual and violent plays within the Jacobean era via his use of tragedies.

  • Sexuality is shown throughout, with Gloucester’s bastard son and Gonerill’s lust.

  • Violence is also shown throughout, via the on screen deaths of a servant and Oswald, Edmund and Edgar’s fight and Gloucester’s blinding.

• Gore:

  • Gloucester’s on screen blinding was considered almost too much for Shakespeare’s contemporary audience, and would have never been done in a Greek classical tragedy.

• He uses character tropes, such as:

  • Machiavellian characters:

    • Edmund is shown to be a manipulator throughout the play:

    • ‘A credulous father and a brother noble,‘ - Edmund, 1.2.

    • ‘This weaves itself perforce into my business‘ - Edmund, 2.1. Said by Edmund when reflecting on potential war between the two dukes, showing he is opportunistic and will change his plans in order to give himself the best outcome. He accomplishes this, by betraying his father to the duke in order to become the Earl of Gloucester.

  • Malcontent character:

    • This is seen in the character of the fool:

      • ‘Marry, here’s grace and a codpiece; that’s a wise man and a fool.‘ - Fool, 3.2. He refers to Kent as a codpiece, which was a pouch that covered genitals, so therefore calls him genitals. He then calls him a fool, even though he himself is a fool, he believes himself wise enough to label Kent as a fool for being around Lear. He also refers to Lear as a wise man, showing that he respects the mad Lear more than Kent. It also interesting that he receives no punishment for such name calling, which represents Shakespeare’s common use of fools to speak truth with no punishment.

    • It could also be seen in Edmund, who mocks those around him:

      • ‘This is the excellent foppery of the world‘ - Edmund, 1.2. He therefore calls the world around him foolish, which is apt as those around him fall for his disguise, and also shows his mocking and disdainful nature for those around him. Unlike the fool, however, he never voices these opinions, as he would receive punishment.