king lear essay conclusion

King Lear Essay features Samuel Taylor Coleridge's famous critique based on his legendary and influential Shakespeare notes and lectures.

Of all Shakespeare's plays Macbeth is the most rapid, Hamlet the slowest in movement. Lear combines length with rapidity,—like the hurricane and the whirlpool absorbing while it advances. It begins as a stormy day in summer, with brightness; but that brightness is lurid, and anticipates the tempest.

It was not without forethought, nor is it without its due significance, that the division of Lear's kingdom is in the first six lines of the play stated as a thing already deter-mined in all its particulars, previously to the trial of professions, as the relative rewards of which the daughters were to be made to consider their several portions. The strange, yet by no means unnatural, mixture of selfishness, sensibility, and habit of feeling derived from, and fostered by, the particular rank and usages of the individual;— the intense desire of being intensely beloved,—selfish, and yet characteristic of the selfishness of a loving and kindly nature alone;—the self-supportless leaning for all pleasure on another's breast;—the craving after sympathy with a prodigal disinterestedness, frustrated by its own ostentation, and the mode and nature of its claims;—the anxiety, the distrust, the jealousy, which more or less accompany all selfish affections, and are amongst the surest contra-distinctions of mere fondness from true love, and which originate Lear's eager wish to enjoy his daughter's violent professions, whilst the inveterate habits of sovereignty convert the wish into claim and positive right, and an incompliance with it into crime and treason;—these facts, these passions, these moral verities, on which the whole tragedy is founded, are all prepared for, and will to the retrospect be found implied, in these first four or five lines of the play. They let us know that the trial is but a trick; and that the grossness of the old king's rage is in part the natural result of a silly trick suddenly and most unexpectedly baffled and disappointed.

It may here be worthy of notice, that Lear is the only serious performance of Shakspeare, the interest and situations of which are derived from the assumption of a gross improbability; whereas Beaumont and Fletcher's tragedies are, almost all of them, founded on some out of the way accident or exception to the general experience of mankind. But observe the matchless judgment of our Shakspeare. First, improbable as the conduct of Lear is in the first scene, yet it was an old story rooted in the popular faith,—a thing taken for granted already, and consequently without any of the effects of improbability. Secondly, it is merely the canvass for the characters and passions,—a mere occasion for,—and not, in the manner of Beaumont and Fletcher, perpetually recurring as the cause, and sine qua non of,—the incidents and emotions. Let the first scene of this play have been lost, and let it only be understood that a fond father had been duped by hypocritical professions of love and duty on the part of two daughters to disinherit the third, previously, and deservedly, more dear to him;—and all the rest of the tragedy would retain its interest undiminished, and be perfectly intelligible. The accidental is nowhere the groundwork of the passions, but that which is catholic, which in all ages has been, and ever will be, close and native to the heart of man,—parental anguish from filial ingratitude, the genuineness of worth, though confined in bluntness, and the execrable vileness of a smooth iniquity. Perhaps I ought to have added the Merchant of Venice; but here too the same remarks apply. It was an old tale; and substitute any other danger than that of the pound of flesh (the circumstance in which the improbability lies), yet all the situations and the emotions appertaining to them remain equally excellent and appropriate. Whereas take away from the Mad Lover of Beaumont and Fletcher the fantastic hypothesis of his engagement to cut out his own heart, and have it presented to his mistress, and all the main scenes must go with it.

Kotzebue is the German Beaumont and Fletcher, without their poetic powers, and without their vis comica. But, like them, he always deduces his situations and passions from marvellous accidents, and the trick of bring-ing one part of our moral nature to counteract another; as our pity for misfortune and admiration of generosity and courage to combat our condemnation of guilt, as in adultery, robbery, and other heinous crimes;—and, like them too, he excels in his mode of telling a story clearly and interestingly, in a series of dramatic dialogues. Only the trick of making tragedy-heroes and heroines out of shopkeepers and barmaids was too low for the age, and too unpoetic for the genius, of Beaumont and Fletcher, inferior in every respect as they are to their great predecessor and contemporary. How inferior would they have appeared, had not Shakspeare existed for them to imitate;—which in every play, more or less, they do, and in their tragedies most glaringly:—and yet—(O shame! shame!)—they miss no opportunity of sneering at the divine man, and sub-detracting from his merits!

To return to Lear. Having thus in the fewest words, and in a natural reply to as natural a question,—which yet answers the secondary purpose of attracting our attention to the difference or diversity between the characters of Cornwall and Albany,—provided the premisses and data, as it were, for our after insight into the mind and mood of the person, whose character, passions, and suffer-ings are the main subject-matter of the play;—from Lear, the persona patiens of his drama. Shakspeare passes without delay to the second in importance, the chief agent and prime mover, and introduces Edmund to our acquaintance. preparing us with the same felicity of judgment, and in the same easy and natural way, for his character in the seemingly casual communication of its origin and occasion. From the first drawing up of the curtain Edmund has stood before us in the united strength and beauty of earliest manhood. Our eyes have been questioning him. Gifted as he is with high advantages of person, and further endowed by nature with a powerful intellect and a strong energetic will, even without any concurrence of circumstances and accident, pride will necessarily be the sin that most easily besets him. But Edmund is also the known and acknowledged son of the princely Gloster: he, therefore, has both the germ of pride, and the conditions best fitted to evolve and ripen it into a predominant feeling. Yet hitherto no reason appears why it should be other than the not unusual pride of person, talent, and birth,— a pride auxiliary, if not akin, to many virtues, and the natural ally of honourable impulses. But alas! in his, own presence his own father takes shame to himsself for the frank avowal that he is his father.—he has 'blushed so often to acknowledge him that he is now brazed to it!' Edmund hears the circumstances of his birth spoken of with a most degrading and licentious levity,—his mother described as a wanton by her own paramour, and the remembrance of the animal sting, the low criminal gratifications connected with her wantonness and prostituted beauty, assigned as the reason, why 'the whoreson must be acknowledged!' This, and the consciousness of its notoriety; the gnawing conviction that every show of respect is an effort of courtesy, which recalls, while it represses, a contrary feeling;—this is the ever trickling flow of wormwood and gall into The wounds of pride.—the corrosive virus which inoculates pride with a venom not its own, with envy, hatred, and a lust for that power which in its blaze of radiance would hide the dark spots on his disc.—with pangs of shame personally undeserved, and therefore felt as wrongs, and with a blind ferment of vindictive working towards the occasions and causes, especially towards a brother, whose stainless birth and lawful honours were the constant remembrancers of his own debasement, and were ever in the way to prevent all chance of its being unknown, or overlooked and forgotten. Add to this, that with excellent judgment, and provident for the claims of the moral sense,—for that which, relatively to the drama, is called poetic justice, and as the fittest means for reconciling the feelings of the spectators to the horrors of Gloster's after sufferings,— at least, of rendering them somewhat less unendurable;— (for I will not disguise my conviction, that in this one point the tragic in this play has been urged beyond the outermost mark and ne plus ultra of the dramatic)—Shakspeare has precluded all excuse and palliation of the guilt incurred by both the parents of the base-born Edmund, by Gloster's confession that he was at the time a married man, and already blest with a lawful heir of his fortunes. The mournful alienation of brotherly love, occasioned by the law of primogeniture in noble families, or rather by the unnecessary distinctions engrafted thereon, and this in children of the same stock, is still almost proverbial on the continent,—especially, as I know from my own observation, in the south of Europe,—and appears to have been scarcely less common in our own island before the Revolu-tion of 1688, if we may judge from the characters and sentiments so frequent in our elder comedies. There is the younger brother, for instance, in Beaumont and Fletcher's play of the Scornful Lady, on the one side, and Oliver in Shakspeare's As You Like It, on the other. Need it be said how heavy an aggravation, in such a case, the stain of bastardy must have been, were it only that the younger brother was liable to hear his own dishonour and his mother's infamy related by his father with an excusing shrug of the shoulders, and in a tone betwixt waggery and shame!

By the circumstances here enumerated as so many predisposing causes, Edmund's character might well be deemed already suffciently explained; and our minds prepared for it. But in this tragedy the story or fable constrained Shakspeare to introduce wickedness in an outrageous form in the persons of Regan and Goneril. He had read nature too heedfully not to know, that courage, intellect, and strength of character are the most impressive forms of power, and that to power in itself, without reference to any moral end, an inevitable admiration and complacency appertains, whether it be displayed in the conquests of a Buonaparte or Tamerlane, or in the foam and the thunder of a cataract. But in the exhibition of such a character it was of the highest importance to prevent the guilt from passing into utter monstrosity,—which again depends on the presence or absence of causes and temptations sufficient to account for the wickedness, without the necessity of recurring to a thorough fiendishness of nature for its origination. For such are the appointed relations of intellectual power to truth, and of truth to goodness, that it becomes both morally and poetically unsafe to present what is admirable,—what our nature compels us to admire —in the mind, and what is most detestable in the heart, as co-existing in the same individual without any apparent connection, or any modification of the one by the other. That Shakspeare has in one instance, that of Iago, approached to this, and that he has done it successfully, is, perhaps, the most astonishing proof of his genius, and the opulence of its resources. But in the present tragedy, in which he was compelled to present a Goneril and a Regan, it was most carefully to be avoided;—and there-fore the only one conceivable addition to the inauspicious influences on the preformation of Edmund's character is given, in the information that all the kindly counteractions to the mischievous feelings of shame, which might have been derived from co-domestication with Edgar and their common father, had been cut off by his absence from home, and foreign education from boyhood to the present time, and a prospect of its continuance, as if to preclude all risk of his interference with the father's views for the elder and legitimate son:—

He hath been out nine years, and away he shall again.

Coy. Nothing, my lord. Lear. Nothing? Cor. Nothing. Lear. Nothing can come of nothing: speak again. Cor. Unhappy that I am, I cannot heave My heart into my mouth: I love your majesty According to my bond; nor more, nor less.

There is something of disgust at the ruthless hypocrisy of her sisters, and some little faulty admixture of pride and sullenness in Cordelia's 'Nothing;' and her tone is well contrived, indeed, to lessen the glaring absurdity of Lear's conduct, but answers the yet more important purpose of forcing away the attention from the nursery-tale, the moment it has served its end, that of supplying the canvass for the picture. This is also materially furthered by Kent's opposition, which displays Lear's moral incapability of resigning the sovereign power in the very act of disposing of it. Kent is, perhaps, the nearest to perfect goodness in all Shakspeare's characters, and yet the most in-dividualized. There is an extraordinary charm in his bluntness, which is that only of a nobleman arising from a contempt of overstrained courtesy, and combined with easy placability where goodness of heart is apparent. His passionate affection for, and fidelity to, Lear act on our feelings in Lear's own favour: virtue itself seems to be in company with him.

Ib. sc. 2. Edmund's speech:—

Who, in the lusty stealth of nature, take More composition and fierce quality Than doth, &c.

Warburton's note upon a quotation from Vanini.

Poor Vanini!—Any one but Warburton would have thought this precious passage more characteristic of Mr. Shandy than of atheism. If the fact really were so, (which it is not, but almost the contrary,) I do not see why the most confirmed theist might not very naturally utter the same wish. But it is proverbial that the youngest son in a large family is commonly the man of the greatest talents in it; and as good an authority as Vanini has said —incalescere in venerem ardentius, spei sobolis injuriosum esse.

In this speech of Edmund you see, as soon as a man cannot reconcile himself to reason, how his conscience flies off by way of appeal to nature, who is sure upon such occasions never to find fault, and also how shame sharpens a predisposition in the heart to evil. For it is a profound morale that shame will naturally generate guilt; the oppressed will be vindictive, like Shylock, and in the anguish of undeserved ignominy the delusion secretly springs up, of getting over the moral quality of an action by fixing tne mind on the merephysical act alone.

Ib. Edmund's speech:—

This is the excellent foppery of the world! that, when we are sick in fortune, (often the surfeit of our own behaviour,) we make guilty of our disasters, the sun, the moon, and the stars, &c.

Thus scorn and misanthropy are often the anticipations I and mouthpieces of wisdom in the detection of superstitions. Both individuals and nations may be free from such prejudices by being below them, as well as by rising above them.

Ib. sc. 3. The Steward should be placed in exact antithesis to Kent, as the only character of utter irredeem-able baseness in Shakspeare. Even in this the judgment and invention of the poet are very observable; —for what else could the willing tool of a Goneril be? Not a vice but this of baseness was left open to him.

Ib. sc. 4. In Lear old age is itself a character,—its natural imperfections being increased by life-long habits of receiving a prompt obedience. Any addition of individuality would have been unnecessary and painful; for the relations of others to him, of wondrous fidelity and of frightful ingratitude, alone sufficiently distinguish him. Thus Lear becomes the open and ample play-room of nature's passions.

Knight. Since my young lady's going into France, Sir; the tool hath much pin'd away,

The Fool is no comic buffoon to make the groundlings laugh,—no forced condescension of Shakspeare's genius to the taste of his audience. Accordingly the poet prepares for his introduction, which he never does with any of his common downs and fools, by bringing him into living connection with the pathos of the play. He is as wonderful a creation as Caliban;—his wild babblings, and inspired idiocy, articulate and gauge the horrors of the scene.

The monster Goneril prepares what is necessary, while the character of Albany renders a still more maddening grievance possible, namely, Regan and Cornwall in perfect sympathy of monstrosity. Not a sentiment, not an image, which can give pleasure on its own account, is admitted; whenever these creatures are introduced, and they are brought forward as little as possible, pure horror reigns throughout. In this scene and in all the early speeches of Lear, the one general sentiment of filial ingratitude prevails as the main spring of the feelings;—in this early stage the outward object causing the pressure on the mind, which is not yet sufficiently familiarized with the anguish for the imagination to work upon it.

Gon. Do you mark that, my lord? Alb. I cannot be so partial, Goneril, To the great love I bear you. Gon. Pray you content, &c.

Observe the baffled endeavour of Goneril to act on the fears of Albany, and yet his passiveness, his inertia; he is not convinced, and yet he is afraid of looking into the thing. Such characters always yield to those who will take the trouble of governing them, or for them. Perhaps, the influence of a princess, whose choice of him had royalized his state, may be some little excuse for Albany's weakness.

Lear. O let me not be mad, not mad, sweet heaven! Keep me in temper! I would not be mad!—

The mind's own anticipation of madness! The deepest tragic notes are often struck by a half sense of an impend-ing blow. The Fool's conclusion of this act by a grotesque prattling seems to indicate the dislocation of feeling that has begun and is to be continued.

Act ii. sc. i. Edmund's speech:—

He replied, Thou unpossessing bastard! &c.

Thus the secret poison in Edmund's own heart steals forth; and then observe poor Gloster's —

Loyal and natural boy!

as if praising the crime of Edmund's birth!

Ib. Compare Regan's—

What, did my father's godson seek your life? He whom my father named?

with the unfeminine violence of her—

All vengeance comes too short, &c .

and yet no reference to the guilt, but only to the accident, which she uses as an occasion for sneering at her father. Regan is not, in fact, a greater monster than Goneril, but she has the power of casting more venom.

Ib. sc. 2. Cornwall's speech:—

This is some fellow, Who, having been praised for bluntness, doth affect A saucy roughness, &c.

In thus placing these profound general truths in the mouths of such men as Cornwall, Edmund, Iago, &c. Shakspeare at once gives them utterance, and yet shows how indefinite their application is.

Ib. sc. 3. Edgar's assumed madness serves the great purpose of taking off part of the shock which would otherwise be caused by the true madness of Lear, and further displays the profound difference between the two. In every attempt at representing madness throughout the whole range of dramatic literature, with the single exception of Lear, it is mere lightheadedness, as especially in Otway. In Edgar's ravings Shakspeare all the while lets you see a fixed purpose, a practical end in view;—in Lear's, there is only the brooding of the one anguish, an eddy without progression.

Ib. sc. 4. Lear's speech:—

The king would speak with Cornwall; the dear father Would with his daughter speak, &c.

No, but not yet: may be he is not well, &c.

The strong interest now felt by Lear to try to find excuses for his daughter is most pathetic.

Ib. Lear's speech:—

————Beloved Regan, Thy sister's naught;—O Regan, she bath tied Sharp-tooth'd unkindness, like a vulture, here. I can scarce "speak to thee;—thou'lt not believe With how deprav'd a quality—O Regan! Reg. I pray you. Sir, take patience; I have hope, You less know how to value her desert, Than she to scant her duty. Lear. Say, how is that?

Nothing is so heart-cutting as a cold unexpected defence or palliation of a cruelty passionately complained of, or so expressive of thorough hard-heartedness. And feel the excessive horror of Regan's 'O, Sir, you are old!'—and then her drawing from that universal object of reverence and indulgence the very reason for her frightful conclusion—

Say, you have wrong'd her!

All Lear's faults increase our pity for him. We refuse to know them otherwise than as means of his sufferings, and aggravations of his daughter's ingratitude.

O, reason not the need: our basest beggars Are in the poorest thing superfluous, &c.

Observe that the tranquillity which follows the first stunning of the blow permits Lear to reason.

Act iii. sc. 4. O, what a world's convention of agonies is here! All external nature in a storm, all moral nature convulsed,—the real madness of Lear, the feigned madness of Edgar, the babbling of the Fool, the desperate fidelity of Kent—surely such a scene was never conceived before or since! Take it but as a picture for the eye only, it is more terrific than any which a Michel Angelo, inspired by a Dante, could have conceived, and which none but a Michel Angelo could have executed. Or let it have been uttered to the blind, the bowlings of nature would seem converted into the voice of conscious humanity. This scene ends with the first symptoms of positive derangement; and the intervention of the fifth scene is particularly judicious, —the interruption allowing an interval for Lear to appear in full madness in the sixth scene.

Ib. sc. 7. Gloster's blinding:—

What can I say of this scene?—There is my reluctance to think Shakspeare wrong, and yet—

Act iv. sc. 6. Lear's speech:—

Ha! Goneril!—with a white beard!—They flattered me like a dog; and told me, I had white hairs in my beard, ere the black ones were there. To say Ay and No to every thing that I said! —Ay and No too was no good divinity. When the rain came to wet me once, &c.

The thunder recurs, but still at a greater distance from our feelings. Ib. sc. 7. Lear's speech:—

Where have I been? Where am I?—Fair daylight?— I am mightily abused.—I should even die with pity To see another thus, &c.

How beautifully the affecting return of Lear to reason, and the mild pathos of these speeches prepare the mind for the last sad, yet sweet, consolation of the aged sufferer's death!

King Lear Themes, Characters, & Analysis Essay

Want to know what the King Lear themes are? This essay focuses on King Lear analysis: themes, characters, and main ideas. Justice, madness, suffering, and other major themes of King Lear are described here. A 100-word summary of the play is also provided.

Introduction

• Character Analysis

Personal Opinion

The struggle for power constitutes a root reason for conflict in Shakespeare’s King Lear, wherein a royal family betrays their ties for the sake of authority and order. Chaotic events of the post-Medieval rule are perceived through the prism of jealousy, betrayal, and dishonesty. A brief overview of the plot, characters, and central themes of the play provides sufficient evidence to argue that Shakespeare aims at encouraging the readers to disregard the quest for power in favor of family ties.

King Lear Summary in 100 Words

The story began when the aging King Lear decided to transfer power to his grown-up daughters, diving the kingdom in three equal proportions. Cordelia, the youngest daughter, chooses to remain without power than be dishonest with Lear. When the king makes a decision to renounce Cordelia, concentrating the right to rule between Goneril and Regan, the new authority figures expel the man, forcing him to leave as an outcast. At the same time, Cordelia marries a French king and falls for an obligation to invade Britain with an intent to save her neglected parent. Despite Lear’s prior unfair treatment, the woman remains loyal to him, continuing to take care of the former ruler.

Another plotline concerns Edgar, an illegitimate son of the Earl of Gloucester. In exile, Edgar thrives on gaining power even in an illegal way, deciding to ally with Goneril and Regan to defeat Cordelia (Al Zoubi and Al Khamaiseh, 2018). Yet, the plan falls apart when Goneril becomes jealous of Edgard’s brother’s romantic feelings for her sister. Jealousy motivates her to poison the sibling and commit suicide afterward. Observing the chaos inside his former kingdom, Lear loses sanity, dying in Cordelia’s arms.

King Lear Character Analysis

A protagonist of the play, King Lear, is an elderly king of Britain. As stated by Hamilton (2017), over the course of his rule, everyone was faithful and obedient to his orders. However, the situation changes when the man passes power to his two daughters, Goneril and Regan (Hamilton, 2017). The wise king makes a fatal mistake, choosing flatter of the older children over the truthfulness of Cordelia, the youngest. In the end, Lear realizes his flaws, declaring “when we are born, we cry that we have come to this great stage of fools” (Shakespeare, 1999, p. 190). His realization, however, does not save him from insanity and death.

Shakespeare portrays Cordelia as an example of virtue and tenderness. The youngest daughter of Lear, she refuses to flatter his father during the ceremony of transferring power (Hamilton, 2017). Though the king renounces her royal status, Cordelia remains loyal to her father regardless of the unfair treatment. Through the words of his character, Shakespeare (1999, p.11) derives a golden rule for all children: “Obey you, love you, and most honor you. Half my love with him, half my care and duty.” In other words, kids should maintain respect for their parents while adhering to reasonable sense.

Goneril and Regan

Unlike Cordelia, Goneril and Regan do not share qualities of integrity and mildness. Lear’s older daughter, Goneril, uses flattery to trick her father into handing power to her during the ceremony (Hamilton, 2017). Hypocritically, she says, “Sir, I love you more than words can wield the matter; Dearer than eyesight, space, and liberty” (Shakespeare, 1999, p. 9). His generous gesture does not stop her, however, from insulting the king and expelling him afterward (Hamilton, 2017). Regan, the middle daughter, utilizes the same approach as Goneril to gain authority in the kingdom.

King Lear Themes

Jealousy, greed, infidelity.

Betrayal has a central position in the story, happening inside the government and the family. As stated by Mahbub-ul-Alam (2016), Goneril and Regan’s infidelity and Edmund’s dishonesty with the officials allow the trio to gain control over the country. The group’s betrayal is fueled with jealousy and greed, which can be observed on different levels in the play. The greed for property and power, jealousy of Cordelia’s tender relationships with her father – all together contribute to the collective decision to seize the authority. Yet, in Shakespearean interpretation, the negative force, impregnated by evil, egocentric motifs, will be, sooner or later, combatted by the kindness, love, and respect.

Authority and Order

In Shakespeare’s play, the theme of authority is closely embedded both on the political and personal levels. On the one hand, King Lear represents the national ruler who commands obedience and respect from the citizens. On the other hand, the man is the head of the family who has unconditional love for his daughters. While the struggle for power is a common issue in the literature of the time, Shakespeare describes authority based on natural and divine order, wherein protagonists are morally weaker than villains (Mahbub-ul-Alam, 2016). With this example, the playwright tries to convey the idea that power is not always held in the hands of those who deserve it for their virtue and integrity.

Sanity and Madness

Another reoccurring theme in King Lear is the distinction between sanity and madness. At the beginning of the play, Lear maintains a reasonable sense despite being fooled by his daughters. Ironically, as the plot progresses, and the man discovers the truth, he loses sanity, stricken by grief and disappointment in his family. With this character’s transformation, Shakespeare underlines the imperfection of human nature, suggesting that sometimes the hardships of reality are unbearable to handle.

From my perspective, literary experts give little attention to Lear’s extreme expressions of vanity. A self-satisfied monarch is so obsessed with praise and flatter that he fails to recognize the hypocrisy in his daughters’ actions. Shakespeare’s King Lear should serve as a reminder for all government officials to disregard personal sentiment in favor of professionalism and work ethics. The author also depicts a harsh reality, wherein the strongest tie of all, family, falls apart in a quest for power. It is critical to realize that authority and greed are superficial, thus, able to bring only short-term happiness. On the contrary, qualities of compassion, honesty, and loyalty are everlasting.

In King Lear, Shakespeare narrates the story of a family whose members considered power to be more important than love, respect, and kindness. Themes of jealousy, greed, infidelity, and madness accompany the play, showing the wicked nature of humankind. With his work, the author attempts to encourage the readers to value virtue, honesty, and integrity instead of falling for superficial qualities of lust and authority.

Reference List

Al Zoubi, S. M. and Al Khamaiseh, A. Z. (2018) ‘A critical study of William Shakespeare’s King Lear: plot and structure’, International Journal of English Language and Literary Studies, 8(1), pp. 14-18. Web.

Hamilton, J. M. (2017) This contentious storm: an ecocritical and performance history of King Lear. London: Bloomsbury Publishing.

Mahbub-ul-Alam, A. (2016) ‘ King Lear: amalgamation of good and evil visions ’, Manarat International University Studies, 7(1), pp. 1-8. Web.

Shakespeare, W. (1999) King Lear. Edited by Stephen Orgel. New York: Penguin Books.

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Bibliography

IvyPanda . "King Lear Themes, Characters, & Analysis Essay." October 29, 2023. https://ivypanda.com/essays/king-lear-summary-of-the-plot-analysis-of-characters-main-themes-and-personal-opinion/.

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Literary Theory and Criticism

Home › Drama Criticism › Analysis of William Shakespeare’s King Lear

Analysis of William Shakespeare’s King Lear

By NASRULLAH MAMBROL on July 25, 2020 • ( 1 )

There is perhaps no play which keeps the attention so strongly fixed; which so much agitates our passions and interests our curiosity. The artful involutions of distinct interests, the striking opposition of contrary characters, the sudden changes of fortune, and the quick succession of events, fill the mind with a perpetual tumult of indignation, pity, and hope. There is no scene which does not contribute to the aggravation of the distress or conduct of the action, and scarce a line which does not conduce to the progress of the scene. So powerful is the current of the poet’s imagination, that the mind, which once ventures within it, is hurried irresistibly along.

—Samuel Johnson, The Plays of William Shakespeare

For its unsurpassed combination of sheer terrifying force and its existential and cosmic reach, King Lear leads this ranking as drama’s supreme achievement. The notion that King Lear is Shakespeare’s (and by implication drama’s) greatest play is certainly debatable, but consensus in its favor has gradually coalesced over the centuries since its first performance around 1606. During and immediately following William Shakespeare’s lifetime, there is no evidence that King Lear was particularly valued over other of the playwright’s dramas. It was later considered a play in need of an improving makeover. In 1681 poet and dramatist Nahum Tate, calling King Lear “a Heap of Jewels unstrung and unpolish’d,” altered what many Restoration critics and audiences found unbecoming and unbearable in the drama. Tate eliminated the Fool, whose presence was considered too vulgar for a proper tragedy, and gave the play a happy ending, restoring Lear to his throne and arranging the marriage of Cordelia and Edgar, neatly tying together with poetic justice the double strands of Shakespeare’s far bleaker drama. Tate’s bowdlerization of King Lear continued to be presented throughout the 18th century, and the original play was not performed again until 1826. By then the Romantics had reclaimed Shakespeare’s version, and an appreciation of the majesty and profundity of King Lear as Shakespeare’s greatest achievement had begun. Samuel Taylor Coleridge declared the play “the most tremendous effort of Shakespeare as a poet”; while Percy Bysshe Shelley considered it “the most perfect specimen of the dramatic art existing in the world.” John Keats, who described the play as “the fierce dispute / Betwixt damnation and impassion’d clay,” offered King Lear as the best example of the intensity, with its “close relationship with Beauty & Truth,” that is the “Excellence of every Art.” Dissenting voices, however, challenged the supremacy of King Lear . Essayist Charles Lamb judged the play to have “nothing in it but what is painful and disgusting” and deemed it “essentially impossible to be represented on a stage.” The great Shakespearean scholar A. C. Bradley acknowledged King Lear as “Shakespeare’s greatest achievement” but “not his best play.” For Bradley, King Lear , with its immense scope and the variety and intensity of its scenes, is simply “too huge for the stage.” Perhaps the most notorious dissenter against the greatness of King Lear was Leo Tolstoy, who found its fable-like unreality reprehensible and ruled it a “very bad, carelessly composed production” that “cannot evoke amongst us anything but aversion and weariness.” Such qualifications and dismissals began to diminish in light of 20thcentury history. The existential vision of King Lear has seemed even more pertinent and telling as a reflection of the human condition; while modern dramatic artistry with its contrapuntal structure and anti-realistic elements has caught up with Shakespeare’s play. Today King Lear is commonly judged unsurpassed in its dramatization of so many painful but inescapable human and cosmic truths.

King Lear is based on a well-known story from ancient Celtic and British mythology, first given literary form by Geoffrey of Monmouth in his History of the Kings of Britain (c. 1137). Raphael Holinshed later repeated the story of Lear and his daughters in his Chronicles (1587), and Edmund Spenser, the first to name the youngest daughter, presents the story in book 2 of The Faerie Queene (1589). A dramatic version— The True Chronicle History of King Leir and his three daughters, Gonerill, Ragan, and Cordella —appeared around 1594. All these versions record Lear dividing his kingdom, disinheriting his youngest daughter, and being driven out by his two eldest daughters before reuniting with his youngest, who helps restore him to the throne and bring her wicked sisters to justice. Shakespeare is the first to give the story an unhappy ending, to turn it from a sentimental, essentially comic tale in which the good are eventually rewarded and the evil punished into a cosmic tragedy. Other plot elements—Lear’s madness, Cordelia’s hanging, Lear’s death from a broken heart, as well as Kent’s devotion and the role of the Fool—are also Shakespeare’s inventions, as is the addition of the parallel plot of Gloucester and his sons, which Shakespeare adapted from a tale in Philip Sidney’s Arcadia . The play’s double plot in which the central situation of Lear’s suffering and self-knowledge is paralleled and counterpointed in Gloucester’s circumstances makes King Lear different from all the other great tragedies. The effect widens and deepens the play into a universal tragedy of symphonic proportions.

King Lear opens with the tragic turning point in its very first scene. Compared to the long delays in Hamle t and Othello for the decisive tragic blow to fall, King Lear , like Macbeth , shifts its emphasis from cause to consequence. The play foregoes nearly all exposition or character development and immediately presents a show trial with devastating consequences. The aging Lear has decided to divest himself of kingly responsibilities by dividing his kingdom among his three daughters. Although the maps of the divisions are already drawn, Lear stages a contest for his daughters to claim their portion by a public profession of their love. “Tell me, my daughters,” Lear commands, “. . . Which of you shall we say doth love us most.” Lear’s self-indulgence—bargaining power for love—is both a disruption of the political and natural order and an essential human violation in his demanding an accounting of love that defies the means of measuring it. Goneril and Regan, however, vie to outdo the other in fulsome pledges of their love, while Cordelia, the favorite, responds to Lear’s question “what can you say to draw / A third more opulent than your sisters” with the devastatingly honest truth: “Nothing,” a word that will reverberate through the entire play. Cordelia forcefully and simply explains that she loves Lear “According to my bond, no more nor less.” Lear is too blind and too needy to appreciate her fidelity or yet understand the nature of love, or the ingenuous flattery of his older daughters. He responds to the hurt he feels by exiling the one who loves him most authentically and deeply. The rest of the play will school Lear in his mistake, teaching him the lesson of humanity that he violates in the play’s opening scene.

The devastating consequences of his decision follow. Lear learns that he cannot give away power and still command allegiance from Goneril or Regan. Their avowals of love quickly turn into disrespect for a now useless and demanding parent. From the opening scene in which Lear appears in all his regal splendor, he will be successively stripped of all that invests a king in majesty and insulates a human being from first-hand knowledge of suffering and core existential truths. Urged to give up 50 of his attending knights by Goneril, Lear claims more gratitude from Regan, who joins her sister in further whittling down Lear’s retinue from 100 knights to 50, to 25, 10, 5, to none, ironically in the language of calculation of the first scene. Lear explodes:

O, reason not the need! Our basest beggars Are in the poorest thing superfluous. Allow not nature more than nature needs, Man’s life is cheap as beast’s .

Lear is now readied to face reality as a “poorest thing.” Lear’s betrayal by his daughters is paralleled by the treachery of the earl of Gloucester’s bastard son, Edmund, who plots to supplant the legitimate son, Edgar, and eventually claim supremacy over his father. Edmund, one of the most calculating and coldblooded of Shakespeare’s villains, rejects all the bonds of family and morality early on in the play by affirming: “Thou, Nature, art my goddess, to thy law / My services are bound.” Refusing to accept the values of a society that rejects him as a bastard, Edmund will operate only by the laws of survival of the fittest in a relentless drive for dominance. He convinces Edgar that Gloucester means to kill him, forcing his brother into exile, disguised as Tom o’ Bedlam, a mad beggar. In the play’s overwhelming third act—perhaps the most overpowering in all of drama—Edgar encounters Lear, his Fool, and his lone retainer, the disguised Kent, whom Lear had banished in the first scene for challenging Lear’s treatment of Cordelia. The scene is a deserted heath with a fierce storm raging, as Lear, maddened by the treatment of his daughters, rails at his fate in apocalyptic fury:

Blow, winds, and crack your cheeks! Rage, blow You cataracts and hurricanoes, spout Till you have drenched our steeples, drowned the cocks! You sulphurous and thought-executing fires, Vaunt-couriers to oak cleaving thunderbolts, S inge my white head; and thou all-shaking thunder, Strike fl at the thick rotundity o’ th’ world, Crack nature’s mould, all germens spill at once, That makes ingrateful man.

The storm is a brilliant expressionistic projection of Lear’s inner fury, with his language universalizing his private experience in a combat with elemental forces. Beseeching divine justice, Lear is bereft and inconsolable, declaring “My wits begin to turn.” His descent into madness is completed when he meets the disguised Edgar who serves as Lear’s mirror and emblem of humanity as “unaccommodated man”—a “poor, bare, forked animal”:

Poor naked wretches, wheresoe’er you are, That bide the pelting of this pitiless storm, How shall your houseless heads and unfed sides, Your looped and windowed raggedness, defend you From seasons such as these? O, I have ta’en Too little care of this. Take physic, pomp, Expose thyself to feel what wretches feel, That thou mayst shake the superflux to them And show the heavens more just.

Lear’s suffering has led him to compassion and an understanding of the human needs he had formerly ignored. It is one of the rare moments of regenerative hope before the play plunges into further chaos and violence.

Act 3 concludes with what has been called the most horrifying scene in dramatic literature. Gloucester is condemned as a traitor for colluding with Cordelia and the French invasion force. Cornwall, Regan’s husband, orders Gloucester bound and rips out one of his eyes. Urged on by Regan (“One side will mock another; th’ other too”), Cornwall completes Gloucester’s blinding after a protesting servant stabs Cornwall and is slain by Regan. In agony, Gloucester calls out for Edmund as Regan supplies the crushing truth:

Out, treacherous villain! Thou call’st on him that hates thee. It was he That made the overture of thy treasons to us, Who is too good to pity thee.

Oedipus-like, Gloucester, though blind, now sees the truth of Edmund’s villainy and Edgar’s innocence. Thrown out of the castle, he is ordered to “smell / His way to Dover.”

Act 4 arranges reunions and the expectation that the suffering of both Lear and Gloucester will be compensated and villainy purged. Edgar, still posing as Poor Tom, meets his father and agrees to guide him to Dover where the despairing Gloucester intends to kill himself by jumping from its cliffs. On arriving, Edgar convinces his father that he has fallen and survived, and Gloucester accepts his preservation as an act of the gods and vows “Henceforth I’ll bear / Affliction till it do cry out itself / ‘Enough, enough,’ and die.” The act concludes with Lear’s being reunited with Cordelia. Awaking in her tent, convinced that he has died, Lear gradually recognizes his daughter and begs her forgiveness as a “very foolish, fond old man.”

The stage is now set in act 5 for a restoration of order and Lear, having achieved the requisite self-knowledge through suffering, but Shakespeare pushes the play beyond the reach of consolation. Although Edmund is bested in combat by his brother, and Regan is poisoned by Goneril before she kills herself, neither poetic nor divine justice prevails. Lear and Cordelia are taken prisoner, but their rescue comes too late. As Shakespeare’s stage directions state, “Enter Lear with Cordelia in his arms,” and the play concludes with one of the most heart-wrenching scenes and the most overpowering lines in all of drama. Lear, although desperate to believe that his beloved daughter is alive, gradually accepts the awful truth:

Why should a dog, a horse, a rat, have life, And thou no breath at all. Thou’lt come no more, Never, never, never, never, never!

Lear dies with this realization of cosmic injustice and indifference, while holding onto the illusion that Cordelia might still survive (“Look on her, look, her lips / Look there, look there!”). The play ends not with the restoration of divine, political, or familial order but in a final nihilistic vision. Shakespeare pushes the usual tragic progression of action leading to suffering and then to self-knowledge to a view into the abyss of life’s purposelessness and cruelty. The best Shakespeare manages to affirm in the face of intractable human evil and cosmic indifference is the heroism of endurance. Urging his despairing father on, Edgar states in the play’s opposition to despair:

. . . Men must endure Their going hence, even as their coming hither; Ripeness is all. Come on.

Ultimately, King Lear , more than any other drama, in my view, allows its audience to test the limits of endurance in the face of mortality and meaninglessness. It has been said that only the greatest art sustains without consoling. There is no better example of this than King Lear .

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I like to think that even the Greeks would’ve weeped at this incredible play. And perhaps even that man from Uz, whose grief was heavier that the sand of the sea, would’ve pitied Lear. Great analysis. Thank you!

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King Lear Essays

On nothingness: relationships in the absence of possessions in "king lear" and "as you like it" anonymous 12th grade.

In Shakespeare’s play King Lear, King Lear tells his daughter Cordelia that, “Nothing will come of nothing”(Shakespeare 1.1.99). This idea of nothingness plays a major role in Shakespeare’s King Lear and As You Like It. King Lear is a tragedy that...

Folly of the Fool Anonymous

In Elizabethan times, the role of a fool, or court jester, was to professionally entertain others, specifically the king. In essence, fools were paid to make mistakes. Many of the fool's quips and riddles were made at the expense of the king. The...

Sight and Consciousness: An Interpretive Study in King Lear Sonny Elizondo

The images of sight given, taken, or abused resonate deeply in King Lear from Kent's first imperative, "See better, Lear" (I.i.158), to the painful images of a stumbling, eyeless Gloucester. Such imagery, drawn both dramatically and verbally,...

An Examination of the Inverse Tropes of Sight and Blindness in King Lear Lesley Pallathumadom

In King Lear, the recurring images of sight and blindness associated with the characters of Lear and Gloucester illustrate the theme of self-knowledge and consciousness that exist in the play.

These classic tropes are inverted in King Lear,...

Gender, Power, and Economics in King Lear Sonia Buck

A common practice that William Shakespeare employs in many of his works is the experimentation with gender politics. Shakespeare often shows how notions of gender become unstable as a result of social forces. To discuss Shakespeare's treatment of...

Cordelia's Confidence: The Impact of King Lear's Youngest Daughter's Self-Assurance Rebecca Rendell

In the first scene of the first act of King Lear Cordelia, Lear's youngest daughter, is banished from his sight forever. As per his decree, she does not return to the stage until the end of the drama. Yet Cordelia's actions and attitude...

Models of Action and Observation in King Lear David Taylor

Auden once asserted that Shakespearean tragedy is necessarily parabolic, pertaining to the only myth that Christianity possesses: that of the 'unrepentant thief'. We as the spectators are thus implicated in the action since each of us 'is in...

'All's Cheerless, Dark and Deadly' David Taylor

'All's Cheerless, Dark and Deadly' Are Kent's Words a Fair Summary of The Tragedy of King Lear?

Samuel Johnson asserted that the blinding of Gloucester was an 'act too horrid to be endured in a dramatic exhibition', and that he was 'too shocked'...

Authority: Kent as a Model of Loyalty in King Lear Nadia Berenstein

King Lear, as both head of state and paterfamilias, has multiple claims to power, and to obedience. His spectacle of dividing the kingdom between his daughters confuses their obligations to him as subjects with their filial obligations, duties...

Language in King Lear Anonymous

"There is a cliff, whose high and bending head

Looks fearfull in the confin'd deep.

Bring me but to the very brim of it...

... From that place I shall no leading need."(IV.i.73)

It is often difficult to gain entry into a work of such complete and...

King Lear's Three Deaths: Triumph, Nihilism, and Revision David Sauvage

If Shakespeare penned two King Lears, he created three King Lears. There is the Quarto's hero, the Folio's hero, and the hero who exists somewhere in the interplay. The last of these is not the same Lear who emerges variously in various conflated...

Women, Sex, and Lust in Shakespeare's King Lear David Sauvage

As the audience gears up for King Lear's death, as they bite their nails at the coming sword fight between the two separated brothers, they notice that within all this royal drama a silly cat fight has developed between Regan and Goneril. We can...

"When Regiment is Gone": Close Readings of King Lear, V.iii.8-26 and V.iii.305-9 Alex Hoffer

Throughout most of Shakespeare's King Lear, the hero is mad; when not, he is deluded. In his gorgeous speech of V.iii.8-26, Lear displays a newfound, optimistic view of his future with Cordelia moments before Edmund orders her death. Lear's...

Power vs. Intelligence Cindy Pang

In Shakespeare's King Lear, the characters in a position of power are most often the ones who are blindest to the truth. Only after losing that power are they able to gain a clear understanding of the events occurring around them and to realize...

Order, Chaos, and Climax In King Lear Jeremy Zorn

A recurring theme throughout William Shakespeare's King Lear is the perpetual struggle between order and chaos, played out in the arena of human existence. While such characters as Lear, Cordelia, Albany and Edgar try to impose their sense of...

Everybody Plays the Fool: A Comparison of King Lear's Fool and Don Quixote's Squire Jessica Hindman

The first time the Fool enters in Shakespeare's King Lear he immediately offers Kent his coxcomb, or jester's hat. Lear asks the Fool "My pretty knave, how dost thou?" (1.4.98) This initial action and inquiry of the Fool is representative of the...

Recognizing Through the Self: The Power of Insight in King Lear Natasha Rosow

In The Tragedy of King Lear, William Shakespeare drags his audience through horrific tragedy to get to the core of truth. Violence, pain, betrayal, and finally death come crashing down upon almost every character, good or bad. This peeling away of...

The Three Forms of Madness in King Lear Lesley Paterson

This essay concentrates on Act 111, Scene 4 of Shakespeare's King Lear, a tragic and powerful scene in which we witness Lear's mind tragically giving way to the menace of madness, which has relentlessly pursued him throughout the play. However,...

Equity and Fairness as Presented Through the Villains of King Lear Beth Herskovits

Questions of personal responsibility, free will, and justice move our sympathies through a work of literature, causing readers to relate with or despise characters as they are shaped within a piece. In The Tragedy of King Lear, William Shakespeare...

Lear as a Victim of Circumstance Gareth Owen

Why, in spite of everything do we like Lear and are on his side?

Ultimately any pathos that lies with Lear is due to the fact that he, like all Shakespeare's tragic heroes, does not deserve the severity of the punishment he receives. He is, through...

Recognizing Humanity In William Shakespeare's King Lear Noura Badawi

William Shakespeare's tragedy, King Lear, is not merely a story of the ill effects of aging, but an illustration of a man plagued by pride and arrogance. Initially, Lear deems himself a man worthy of worship by his family and friends, an ill for...

The Use of Paradox as Related to the Theme of Truth in King Lear Theresa Kennedy

"May not an ass know when the cart draws the horse?"1 (I.iv.223).

This question, posed by the Fool, is aptly descriptive of the world of King Lear,which is a world turned upside down, a cart before the horse existence, whichsets the characters...

A King's World: Thirst for Acceptance Katherine Hughes

Like all Shakespearean tragedies, "King Lear" has several prevailing humanistic themes. Certainly, the plot revolves around the obvious themes of parent-child relationships, sibling rivalries and pride as the downfall of man. However, one common...

The Madness of King Lear Nick Summers

It is odd to think that true madness can ever be totally understood. Shakespeare's masterful depiction of the route to insanity, though, is one of the stronger elements of King Lear. The early to middle stages of Lear's deterioration (occurring in...

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Essays on King Lear

Prompt examples for "king lear" essays, power and madness.

Examine the theme of power and madness in "King Lear." How do King Lear and other characters' quests for power lead to their descent into madness, and what does this reveal about the human condition?

Family and Betrayal

Analyze the dynamics of family and betrayal in the play. How do the relationships between Lear and his daughters, as well as Gloucester and his sons, illustrate themes of loyalty, deception, and trust?

Blindness and Insight

Discuss the symbolism of blindness and insight in "King Lear." How do characters gain or lose their sight, both literally and metaphorically, and what does this say about their understanding of the world?

Justice and Revenge

Examine the themes of justice and revenge in the play. How do characters seek retribution for perceived wrongs, and how does the concept of justice evolve throughout the story?

The Role of the Fool

Consider the significance of the Fool in "King Lear." What is the Fool's role in the play, and how does his character provide commentary on the events and characters?

Tragedy and Redemption

Analyze the tragic elements of the play and the potential for redemption. How do the characters' actions and fates contribute to the overall sense of tragedy, and is there room for redemption in the story?

Blindness Vs The Ability to Perceive in King Lear

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The Impact of Anger on Characters in King Lear

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King Lear Character Analysis: Representation of Responsibility

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Analysis of Humanistic Themes Resolved in King Lear

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