INTRODUCTORY NOTE "KING LEAR" is, in its picture of the tragic effect of human weakness and human cruelty, the most overpowering of the works of Shakespeare. It was written about 1605, in the middle of that period of his activity when he was interested, for whatever reason, in portraying the suffering and disaster that are entailed by defects of character, and the terrible cost at which such defects are purged away; and not even "Hamlet" displays these things so irresistibly. The germ of the story is found in the folk-lore of many ages and countries. Attached to the name of Lear, the legend assumed pseudo-historical form with Geoffrey of Monmouth in the twelfth century, was handed down through the long line of Latin and English chroniclers, appeared in collections of tales, found a place in Spenser's "Faerie Queene,” and was dramatized by an anonymous playwright about ten years before the date of Shakespeare's drama. To Shakespeare himself is due the tragic catastrophe which takes the place of the traditional fortunate ending, according to which the French forces were victorious, and Lear was restored to his kingdom. He first makes Lear go mad; invents the banishment of Kent and his subsequent disguise; creates the Fool; and, finally, connects with Lear the whole story of Gloucester and his sons. This skilfully interwoven underplot is taken from Sidney's "Arcadia," in which a story is told of a king turned against his legitimate son by the slanders of his bastard. The pretended madness of Edgar, and the love of the wicked daughters for Edmund are inventions of Shakespeare's. But these details are not the only means by which the improbable legend is converted into the most tremendous of tragedies. This is done chiefly by the intensity with which the characters are conceived: the imperiousness and intellectual grasp of Lear, the force and subtlety of Edmund, the venom of the wicked daughters, the tenderness of Cordelia, the impassioned loyalty of Kent, the unselfishness of Edgar, and the poignant candor of the faithful Fool. GONERIL, CORDELIA, Cor } daughters to Lear. Knights of Lear's train, Captains, Messengers, Soldiers, and Attendants SCENE: Britain] ACT I SCENE I. [King Lear's palace] Kent Enter KENT, GLOUCESTER, and EDMUND I THOUGHT the King had more affected' the Duke of GLOU. It did always seem so to us; but now, in the division of the kingdom, it appears not which of the Dukes he values most; for qualities' are so weigh'd, that curiosity in neither can make choice of either's moiety." KENT. Is not this your son, my lord? GLOU. His breeding, sir, hath been at my charge. I have so often blush'd to acknowledge him, that now I am braz'd' to 't. 1 Liked. The values in each share are so balanced. • Portion. • Hardened. KENT. I cannot conceive you. GLOU. Sir, this young fellow's mother could; whereupon she grew round-womb'd, and had, indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault? KENT. I cannot wish the fault undone, the issue of it being so proper." GLOU. But I have a son, sir, by order of law, some year elder than this, who yet is no dearer in my account. Though this knave came something saucily into the world before he was sent for, yet was his mother fair; there was good sport at his making, and the whoreson must be acknowledged. Do you know this noble gentleman, Edmund? EDм. No, my lord. GLOU. My Lord of Kent. Remember him hereafter as my honourable friend. EDM. My services to your lordship. KENT. I must love you, and sue to know you better. EDM. Sir, I shall study deserving. GLOU. He hath been out' nine years, and away he shall again. The King is coming. Sennet. Enter one bearing a coronet, then KING LEAR, then the DUKES OF ALBANY and CORNWALL, next GONERIL, REGAN, CORDELIA, with followers LEAR. Attend the lords of France and Burgundy, Gloucester. GLOU. I shall, my lord. Exeunt [GLOUCESTER and EDMUND]. To shake all cares and business from our age, Our daughters' several dowers, that future strife May be prevented now. The Princes, France and Burgundy, ་ • Handsome. • Esteem. "Away, making a career. A set of notes on a trumpet. Great rivals in our youngest daughter's love, Long in our court have made their amorous sojourn, Interest of territory, cares of state,— Which of you shall we say doth love us most, That we our largest bounty may extend Where nature doth with merit challenge?" Goneril, Our eldest-born, speak first. GON. Sir, I love you more than word can wield the matter; Dearer than eye-sight, space, and liberty; Beyond what can be valued, rich or rare; No less than life, with grace, health, beauty, honour; As much as child e'er lov'd, or father found; A love that makes breath poor, and speech unable: Beyond all manner of so much I love you. COR. [Aside.] What shall Cordelia speak? Love and be silent. LEAR. Of all these bounds, even from this line to this, REG. I am made of that self metal as my sister, Which the most precious square of sense" In your dear Highness' love. COR. possesses; [Aside.] Then poor Cordelia! And yet not so; since, I am sure, my love 's More ponderous than my tongue. LEAR. To thee and thine hereditary ever Remain this ample third of our fair kingdom; No less in space, validity, and pleasure, Where natural affection deservedly claims it. 11 Sense in its perfection. HC XLVI (N) 10 Level country. |