King Lear 3388 words College Essay Example

of King Lear differs from these earlier texts in several aspects. For instance, none of the previous works featured the iconic character of the Fool, and Shakespeare creatively transformed a previously "melodramatic story with a 'happy ending'" into a poignant tale about the complex relationship between parents and their children.

Shakespeare's focus in King Lear is on the dysfunctional nature of the royal family, Gloucester, and the heartache and emotional strain of being a parent faced with a decision that divides their children. This play examines the aftermath of this decision and how it impacts the King, his children, and his subjects. It can be argued that King Lear is Shakespeare's most tragic work, as nearly the entire cast either dies or is murdered without any chance for redemption. Unlike other Shakespearean plays, where characters often find redemption or salvation through the resolution of conflicts, the characters in King Lear experience neither.

The tragic nature of this work is best demonstrated by the bitterness, sadness, and reality of the human psyche it contains. Unlike in many of Shakespeare's other plays, the emotional and physical bond between a father and a daughter (or son, in relation to the Gloucester/Edmund/Edgar plot) is unique. At the beginning of the play, when Lear foolishly divides his kingdom among his three daughters and asks Cordelia's older sisters for their thoughts on him, he also poses the same question to her. Her response reveals her true character, as she states, "Unhappy that I am, I cannot heave my heart into my mouth."

According to my bond, I love Your Majesty, no more and no less. These words could be seen as a threat, suggesting

that if the Queen does not express her love in words, it could negatively impact her future. Cordelia's response provides clear foreshadowing as she states that she has been brought up and loved by her father, and she returns those duties to him. She poses the question of why her sisters, who claim to love their father, have husbands. When she marries, she will only give half of her love, care, and duty to her husband, as the other half belongs to her father. She concludes by saying that she will never marry like her sisters and love her father entirely.

From lines 96 to 104, it must be acknowledged that during this period, women were expected to be submissive and obedient to men. Codelia's position in this situation is delicate and must be supported by a strong belief since she refuses to yield to Lear even after his threats, demonstrating her unwavering determination. The mere existence of this foolish "game" highlights Lear's deep insecurities about his relationship with his three daughters. Lear becomes angered by Cordelia's refusal, revealing his inability to effectively navigate relationships, whether they be paternal or otherwise. Additionally, this scene depicts the exile of loyal Kent, who, apart from Cordelia, speaks the only sensible words in the scene. Some of these words are directed directly at Lear himself: "What would you do, old man? Do you think that duty should fear speaking when power bows down to flattery? Honesty is required when majesty descends into foolishness."

Reserve your state and carefully consider this rashness. My life and my judgment, know that your youngest daughter does not love you any less, and those who

speak softly are not without substance." (1.1, ll. 146-155)

In response, Lear tells him in line 155, "Kent, never speak of this again." These events are just the beginning of the dark plot that follows, as both Kent and, more importantly, Cordelia, are absent. In the second scene of the first act, the plot involving Gloucester, Edmund, and Edgar is introduced.

In the soliloquy "Legitimate Edgar, I must have your land." (Act 1.2, l. 16), we witness Edmund, the illegitimate son, scheming to deceive his honest brother Edgar and take away his inheritance. The presence and success of nefarious characters like Edmund, Goneril, and Regan in these initial scenes may seem disheartening, but there is a purpose behind it all. The loyalty of Kent becomes evident in Act one scene four when he takes a great risk by secretly returning to the king's court disguised, hoping to persuade Lear to allow him to remain by the King's side and offer guidance during his times of distress. Kent's dedication is displayed in his soliloquy at the beginning of the scene, "Now, banished Kent, if thou canst serve where thou dost stand condemned, so may it come thy master, whom thou lov'st, shall find thee full of labors." (1.4, ll. 4-7). It is important to note that in this scene, the King remains a victim of the same overwhelming emotions that clouded his judgement in previous scenes.

Shakespeare uses this scene to establish the fool as a sympathetic character. Since Cordelia's departure for France, he has been moping about. However, the King greets him warmly, saying "How now my pretty knave, how dost thou?" (1.4, ll. 94-95). We also recognize

the Fool's character as supportive and un-threatening. The plot of Gloucester's bastard son is furthered in the second act, scene one. After Edmund learns of the potential civil dissession between the two Dukes, he convinces his legitimate brother to flee. He tells him that their father has discovered his presence and that the Duke of Cornwall suspects him of treasonous dealings with Albany.

This scene unites several villains in the play, as Cornwall, Regan, and Edmund all become allies by the end of it. The second scene of this act takes place at Gloucester's castle, where a conflict between Oswald and Kent erupts. However, Cornwall intervenes and puts a stop to it. Cornwall then orders Kent to be placed in the stocks, which may be difficult for a modern reader to understand. In his justification, Cornwall says, "I serve the King, on whose employment I was sent to you. You shall do small respect, show too bold malice against the grace and person of my master, stocking his messenger." (2.2, ll.)

130-135) The intention behind this action is likely to be perceived as an act of defiance towards Lear, serving as a representation of his removal from power. It is inexcusable that this individual (Kent), who serves as a direct messenger of the King, is treated so disrespectfully. Despite Gloucester's pleas to Cornwall, he is overpowered, as Cornwall and Regan have both firmly made their decision. It is evident from this scene that any remaining ounce of respect for the King from these two oppressors has been completely eradicated.

Within the second act's fourth scene, Lear experiences a vast array of emotions. He expresses bewilderment

regarding Regan and Cornwall's departure without any explanation. Additionally, upon discovering that those two individuals are responsible for Kent's punishment in the stocks, Lear's previous anger reemerges and dominates his being. Lear finds it all to be nearly incomprehensible, given his status as King and their supposed role as his subjects. Throughout his entire life, Lear has commanded rather than requested obedience. Hence, when Gloucester informs Lear that he has "inform'd" Cornwall and Regan about the King's desire to speak with them, Lear must exert great restraint in order to avoid a volatile outburst. In line with this, Lear asserts, "We are not ourselves when nature, being oppress'd, commands the mind to suffer with the body." (2.4, ll. 104-106) Primarily applicable to his state of mind, this statement carries significant weight.

The strong emotional appeal of this once powerful ruler remaining intentionally blind to all of this is evident. However, it takes a toll on Lear's mental state when he tells his own daughter Goneril that they will never see each other again, leading us to question how much sanity he has left. In Lear's speech, "But yet thou art my flesh, my daughter; or rather a disease that's in my flesh, which I must needs call mine; thou art a boil, a plague-sore, an embossed carbuncle, in my corrupted blood," (2.4, ll. 222- 226), it appears that he may realize that the cause of his daughters' evil and manipulation lies within himself and the foolish pronouncement he made at the beginning of the play. Act three scene two is an exceptionally powerful and captivating moment in Shakespeare's works.

The image of a former powerful ruler, now

depressed and disheartened, aimlessly wandering through harsh weather conditions of wind, rain, and lightning, is both touching and significant. We observe the calming and comforting presence of Lear's Fool, who encourages him to find refuge, even if he must beg for it. The Fool then proceeds to offer unsolicited commentary on the events of the play's opening scene. H. Granville-Barker aptly describes Lear as a "Promethean figure."

. Lear demonstrates that he is not great in physical but in intellectual dimensions. Despite his claim to be an old and frail man, he proves otherwise by declaring, "I am a man more sinned against than sinning" (3.2, ll. 58-59). In act three scene three, Edmund continues his manipulative actions, but act three scene four brings about even more significant events. The storm outside serves as a symbol for the turmoil inside Lear's mind, and he even mentions that his problems are so overwhelming that he hardly notices the storm. Shortly after, the party encounters Edgar disguised as Poor Tom. The Fool runs away in fear while Lear, almost mad, questions, "Is man no more than this?" (3.4 ll.)

101-102) And then proceeds to remove all his clothes and join Edgar in being naked. When Lear refers to Poor Tom (Edgar) as a "learned philosopher," it raises questions about Lear's sanity. However, our sympathy for Lear grows when we realize that his punishment, no matter how foolish his earlier actions may have been, is certainly excessive. Kent adds to our suspicion of Lear's insanity by telling Gloucester, "Urge him to go once more, my lord, his sanity is beginning to unravel" (3.4, lines 159-60). In one of the most

sorrowful scenes of the play, we witness the cruel treatment of noble Gloucester. Act three scene seven portrays the wickedness and pure brutality of Goneril, Regan, and Cornwall.

When Gloucester is brought before the three fiends for interrogation, Regan plucks his beard and tortures him. Eventually, he proudly announces that he has sent Lear away to safety in order to prevent his eyes from being gouged out by Regan's cruel nails or being attacked by her fierce sister's fangs. Cornwall punishes Gloucester for this betrayal by gouging out both of his eyes and crushing them under his boots. Furthermore, when Gloucester pleads for Edmund, the three fiends reveal to him the deceitfulness of his illegitimate son. Subsequently, Gloucester is cast out and left to find his way to Dover by relying solely on his sense of smell. Act four, scene one depicts a heartwarming reunion between Gloucester and Edgar, his legitimate son. Edgar realizes that his father is so despairing that he must continue to pretend to be Tom o' Bedlam. Gloucester expresses his desire to be taken to the cliffs, foreshadowing his intention to commit suicide. Edgar, disguising himself as Tom, agrees to accompany him, aware of his father's motive. Gloucester's melancholy is captured well in his statement: "We are like flies to wanton boys, who kill us merely for their amusement." (4.1 ll.)

In act four scene two, Albany is portrayed as a transformed individual. It is revealed that Cornwall has died due to the injury he sustained while trying to gouge out Gloucester's remaining eye. Albany interprets this event as a form of divine intervention and conveys his disappointment to Goneril by stating, "O

Goneril! You are not worth the dust which the rude wind blows in your face." (4.2, ll. 31-2) Following Cordelia's return from France and her discovery of her father's madness, the focus shifts to Edgar and Gloucester in a field that Edgar persuades him to perceive as the cliffs.

Edgar wakes his father when he falls down and loses consciousness, "saving" him from despair as planned. He convinces the blind old man that he has survived a fall from the cliffs. Although virtue triumphs momentarily, Edgar easily defeats Oswald and recognizes Albany's virtue and goodness through a letter. Despite being forced to fight Cordelia's army, Lear is finally reunited with her and their presence helps him regain his sanity temporarily. The doctor states that Lear's mind is restored for the moment but advises against reminding him of past experiences. Lear is surprised that Cordelia does not despise or hate him, even though he gave her reason to do so.

He states that if my tears are wet, then I should not weep. He is willing to drink poison if it is meant for him. He is aware that I do not love him because, just like my sisters, I have mistreated him in the past.

According to line 72-7, while Cordelia tearfully replies "No cause, no cause", Shakespeare demonstrates her selflessness and love for her father. Edmund's forces are victorious in the battle, resulting in Cordelia and Lear being captured as prisoners. Goneril then poisons Regan and later commits suicide upon discovering the events that unfolded.

Edmund and Edgar engage in a fight, resulting in Edmund's death. The brothers reconcile before Edmund dies and he confesses that he had

ordered Cordelia to be hanged. As a sign of remorse, Edmund gives up his sword. Unfortunately, their efforts are in vain as Lear arrives with the lifeless body of Cordelia, expressing his grief. Lear exclaims that if he had the ability, he would use his voice and eyes to cause a cataclysm in heaven. He mourns the loss of Cordelia, stating that he knows when someone is dead or alive, and she is gone forever. Lear asks for a mirror, hoping that if her breath clouds or stains the mirror, it would mean she is still alive.

62-68) Shakespeare depicts this scene with such intensity that we, as readers, can almost sense his anger, and the death of his dear daughter ultimately drives him to his own demise. From the beginning of the play, Lear is surrounded by people, although at times few in number, who genuinely love him, willing to sacrifice their lives for him. Yet, he turns against most, if not all, of these individuals. As he descends into madness, his situation goes from bad to worse. After Lear and Cordelia's initial exchange, she does not appear again until Act 4, Scene 7. There, she returns from France to rescue her father who has deteriorated physically and mentally, despite Edgar and Kent's efforts to maintain his sanity and coherence.

Cordelia's absence has caused significant psychological harm to her father, changing him profoundly. In a moment of hope, Lear recognizes Cordelia after a long time and admits his own foolishness and uncertainty. He acknowledges his doubt about his surroundings and his inability to remember recent events. Lear pleads not to be mocked, as he believes the

lady before him is his daughter Cordelia. Shortly after, Edmund and his soldiers arrive to take them to prison, and Lear falls into another fit of rage. While it is easy to sympathize with Lear in this play, understanding his motivations proves to be more challenging.

The old man, Lear, was foolishly blinded by his own ego as he divided his kingdom among his three daughters based on their declarations of love for him. Ironically, it was Gloucester who suffered physical blindness, while Lear remained figuratively blind. Throughout the entire play, there were many people who loved him deeply, yet Lear's passion and resulting madness prevented him from realizing this. However, his unwavering love is most evident in the poignant scene where he carries his dead daughter, tears streaming down his face. In the end, Lear becomes a sympathetic character, highlighting his personal growth from a power-hungry king to a more compassionate individual.

His excessive arrogance and pride give him the power and assurance to protect and govern a feudal kingdom. However, they prevent him from acknowledging genuine love and loyalty. This tragic flaw ultimately results in the loss of both his kingdom and his cherished daughter—the only one of his three children who truly loved him as a father, and the sole daughter who cared for a jealous, foolish, and impulsive old man.