ACT I.
[Enter Kent, Gloster, and Edmund.]
Kent.
I thought the King had more affected the Duke of Albany than Cornwall.
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 equalities are so weighed that curiosity in neither can make choice of either’s moiety.
Kent.
Glou.
Kent.
I cannot conceive you.
Glou.
Do you smell a fault?
Kent.
I cannot wish the fault undone, the issue of it being so proper.
Glou.
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?
Edm.
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 within.]
[Enter Lear, Cornwall, Albany, Goneril, Regan, Cordelia, and Attendants.]
Lear.
Attend the lords of France and Burgundy, Gloster.
Glou.
[Exeunt Gloster and Edmund.]
Lear.
Meantime we shall express our darker purpose.—
Give me the map there.—
Know that we have divided
In three our kingdom: and ’tis our fast intent
To shake all cares and business from our age;
Conferring them on younger strengths, while we
Unburden’d crawl toward death.—Our son of Cornwall,
And you, our no less loving son of Albany,
We have this hour a constant will to publish
Our daughters’ several dowers, that future strife
May be prevented now. The princes, France and Burgundy,
And here are to be answer’d.—Tell me, my daughters,—
Since now we will divest us both of rule, Interest of territory, cares of state,
—
Gon.
Sir, I love you more than words can wield the matter;
Dearer than eyesight, space, and liberty;
Beyond what can be valu’d, 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.]
Lear.
Of all these bounds, even from this line to this,
With shadowy forests and with champains rich’d,
With plenteous rivers and wide-skirted meads,
We make thee lady: to thine and Albany’s issue
Be this perpetual.—What says our second daughter,
Our dearest Regan, wife to Cornwall? Speak.
Reg.
Sir, I am made of the selfsame metal that my sister is, And prize me at her worth. In my true heart I find she names my very deed of love; Only she comes too short,—that I profess Myself an enemy to all other joys Which the most precious square of sense possesses, And find I am alone felicitate In your dear highness’ love.
Cor.
[Aside.]
Lear.
To thee and thine hereditary ever
Remain this ample third of our fair kingdom;
No less in space, validity, and pleasure
Than that conferr’d on Goneril.—Now, our joy,
Although the last, not least; to whose young love
The vines of France and milk of Burgundy
Strive to be interess’d; what can you say to draw
A third more opulent than your sisters? Speak.
Cor.
Nothing, my lord.
Lear.
Nothing!
Cor.
Lear.
Nothing can come of nothing: speak again.
Cor.
Lear.
How, how, Cordelia? mend your speech a little, Lest you may mar your fortunes.
Cor.
Good my lord, You have begot me, bred me, lov’d me: I Return those duties back as are right fit, Obey you, love you, and most honour you. Why have my sisters husbands if they say They love you all? Haply, when I shall wed, That lord whose hand must take my plight shall carry Half my love with him, half my care and duty: Sure I shall never marry like my sisters,
Lear.
But goes thy heart with this?
Cor.
Ay, good my lord.
Lear.
Cor.
So young, my lord, and true.
Lear.
Let it be so,—thy truth then be thy dower:
For, by the sacred radiance of the sun,
The mysteries of Hecate, and the night;
By all the operation of the orbs,
From whom we do exist and cease to be;
The barbarous Scythian,
Or he that makes his generation messes
To gorge his appetite, shall to my bosom
Be as well neighbour’d, pitied, and reliev’d,
Kent.
Good my liege,—
Lear.
Peace, Kent!
I lov’d her most, and thought to set my rest [To Cordelia.] So be my grave my peace, as here I give Her father’s heart from her!—Call France;—who stirs? Call Burgundy!—Cornwall and Albany, With my two daughters’ dowers digest this third: Let pride, which she calls plainness, marry her. I do invest you jointly in my power, Pre-eminence, and all the large effects That troop with majesty.—Ourself, by monthly course, With reservation of an hundred knights, By you to be sustain’d, shall our abode Make with you by due turns. Only we still retain The name, and all the additions to a king; The sway, Revenue, execution of the rest, Beloved sons, be yours; which to confirm, This coronet part betwixt you. [Giving the crown.]
Kent.
Royal Lear, Whom I have ever honour’d as my king, Lov’d as my father, as my master follow’d, As my great patron thought on in my prayers.—
Lear.
The bow is bent and drawn; make from the shaft.
Kent.
Let it fall rather, though the fork invade The region of my heart: be Kent unmannerly Think’st thou that duty shall have dread to speak When power to flattery bows? To plainness honour’s bound When majesty falls to folly. Reverse thy state;
Lear.
Kent, on thy life, no more.
Kent.
My life I never held but as a pawn To wage against thine enemies; nor fear to lose it, Thy safety being the motive. Lear.
Kent.
See better, Lear; and let me still remain The true blank of thine eye.
Lear.
Now, by Apollo,—
Kent.
Now by Apollo, king, Thou swear’st thy gods in vain.
Lear.
O vassal! miscreant!
[Laying his hand on his sword.]
Alb. and Corn.
Dear sir, forbear!
Kent.
Do; Kill thy physician, and the fee bestow Upon the foul disease. Revoke thy gift, Or, whilst I can vent clamour from my throat, I’ll tell thee thou dost evil. Lear. Hear me, recreant! On thine allegiance, hear me!— Since thou hast sought to make us break our vow,— Which we durst never yet,—and with strain’d pride To come between our sentence and our power,— Which nor our nature nor our place can bear,— Our potency made good, take thy reward. Five days we do allot thee for provision To shield thee from diseases of the world; And on the sixth to turn thy hated back Upon our kingdom: if, on the tenth day following, Thy banish’d trunk be found in our dominions, The moment is thy death.
Kent.
Fare thee well, king: sith thus thou wilt appear, Freedom lives hence, and banishment is here.— [To Cordelia.] The gods to their dear shelter take thee, maid, That justly think’st and hast most rightly said! [To Regan and Goneril.] And your large speeches may your deeds approve, That good effects may spring from words of love.— Thus Kent, O princes, bids you all adieu; He’ll shape his old course in a country new.
[Exit.]
[Flourish. Re-enter Gloster, with France, Burgundy, and
Attendants.]
Glou.
Here’s France and Burgundy, my noble lord.
Lear.
My Lord of Burgundy, We first address toward you, who with this king Hath rivall’d for our daughter: what in the least Will you require in present dower with her, Or cease your quest of love?
Bur.
Most royal majesty, I crave no more than hath your highness offer’d, Nor will you tender less.
Lear.
Right noble Burgundy, When she was dear to us, we did hold her so; But now her price is fall’n. Sir, there she stands: If aught within that little seeming substance, Or all of it, with our displeasure piec’d, And nothing more, may fitly like your grace, She’s there, and she is yours.
Bur.
I know no answer.
Lear.
Will you, with those infirmities she owes, Unfriended, new-adopted to our hate, Dower’d with our curse, and stranger’d with our oath, Take her, or leave her?
Bur.
Pardon me, royal sir; Election makes not up on such conditions.
Lear.
Then leave her, sir; for, by the power that made me, I tell you all her wealth.—[To France] For you, great king, I would not from your love make such a stray To match you where I hate; therefore beseech you To avert your liking a more worthier way Than on a wretch whom nature is asham’d Almost to acknowledge hers.
France.
This is most strange, That she, who even but now was your best object, The argument of your praise, balm of your age, Most best, most dearest, should in this trice of time Commit a thing so monstrous, to dismantle So many folds of favour. Sure her offence Must be of such unnatural degree That monsters it, or your fore-vouch’d affection Fall’n into taint; which to believe of her Must be a faith that reason without miracle Should never plant in me.
Cor.
I yet beseech your majesty,— If for I want that glib and oily art To speak and purpose not; since what I well intend, I’ll do’t before I speak,—that you make known It is no vicious blot, murder, or foulness, No unchaste action or dishonour’d step, That hath depriv’d me of your grace and favour; But even for want of that for which I am richer,— A still-soliciting eye, and such a tongue As I am glad I have not, though not to have it Hath lost me in your liking.
Lear.
Better thou Hadst not been born than not to have pleas’d me better.
France.
Is it but this,—a tardiness in nature Which often leaves the history unspoke That it intends to do?—My lord of Burgundy, What say you to the lady? Love’s not love When it is mingled with regards that stands Aloof from the entire point. Will you have her? She is herself a dowry.
Bur.
Royal king, Give but that portion which yourself propos’d, And here I take Cordelia by the hand, Duchess of Burgundy.
Lear.
Nothing: I have sworn; I am firm.
Bur.
I am sorry, then, you have so lost a father That you must lose a husband.
Cor.
Peace be with Burgundy! Since that respects of fortune are his love, I shall not be his wife.
France.
Fairest Cordelia, that art most rich, being poor;
Most choice, forsaken; and most lov’d, despis’d!
Thee and thy virtues here I seize upon:
Be it lawful, I take up what’s cast away.
Gods, gods! ’tis strange that from their cold’st neglect
My love should kindle to inflam’d respect.—
Thy dowerless daughter, king, thrown to my chance,
Is queen of us, of ours, and our fair France:
Not all the dukes of waterish Burgundy
Can buy this unpriz’d precious maid of me.—
Bid them farewell, Cordelia, though unkind:
Thou losest here, a better where to find.
Lear.
Thou hast her, France: let her be thine; for we Have no such daughter, nor shall ever see That face of hers again.—Therefore be gone Without our grace, our love, our benison.— Come, noble Burgundy.
[Flourish. Exeunt Lear, Burgundy, Cornwall, Albany, Gloster, and Attendants.]
France.
Bid farewell to your sisters.
Cor.
The jewels of our father, with wash’d eyes
Cordelia leaves you:
And, like a sister, am most loath to call
Your faults as they are nam’d. Love well our father:
To your professed bosoms I commit him:
But yet, alas, stood I within his grace,
I would prefer him to a better place.
So, farewell to you both.
Reg.
Prescribe not us our duties.
Gon.
Let your study Be to content your lord, who hath receiv’d you
At fortune’s alms. You have obedience scanted,
And well are worth the want that you have wanted.
Cor.
: Who cover faults, at last shame them derides. Well may you prosper!
France.
Come, my fair Cordelia.
[Exeunt France and Cordelia.]
Gon.
Sister, it is not little I have to say of what most nearly appertains to us both. I think our father will hence to-night.
Reg.
That’s most certain, and with you; next month with us.
Gon.
Reg.
‘Tis the infirmity of his age: yet he hath ever but slenderly known himself.
Gon.
The best and soundest of his time hath been but rash; then must we look to receive from his age, not alone the imperfections of long-ingraffed condition, but therewithal the unruly waywardness that infirm and choleric years bring with them.
Reg.
Such unconstant starts are we like to have from him as this of Kent’s banishment.
Gon.
There is further compliment of leave-taking between France and him. : if our father carry authority with such dispositions as he bears, this last surrender of his will but offend us.
Reg.
We shall further think of it.
Gon.
<p align="center"><a href="http://nathanblom.com/edmundcharacteranalysis/#vilimessay" target="_blank" rel="noopener">Edmund Character Analysis</a></p>
<p align="center"><a href="http://nathanblom.com/edmundcharacteranalysis/#vilimessay" target="_blank" rel="noopener">By Peter Vilim</a></p>
<p style="text-align: left;" align="center"><a href="http://nathanblom.com/edmundcharacteranalysis/#vilimessay" target="_blank" rel="noopener">This is an interpretation of Edmund that I created from an actors perspective.</a></p>
<p style="text-align: left;" align="center"><a href="http://nathanblom.com/edmundcharacteranalysis/#vilimessay" target="_blank" rel="noopener"><span style="text-decoration: underline;">1.What is his/her name?</span> Edmund <span style="text-decoration: underline;">2. How old is he/she?</span> 22 <span style="text-decoration: underline;">3.Does he/she appear handsome, pretty, ugly? What is the first impression one would get from them?</span> Edmund is a pretty handsome fellow as evidenced by both Regan and Goneril attempts to get Edmund to marry him later in the play. The first impression that Edmund usually gives off is that he is sincere, but also quite aggressive. <span style="text-decoration: underline;">4.Does he/she have any abnormalities?</span> Edmund had no physical abnormalities, but society has melded Edmund into a hateful creature. <span style="text-decoration: underline;">5. Does he/she get along with others?</span> Edmund has always had a particularly hard time meeting friends, as he tends to try to dominate the friendship and force everyone to do things his way. <span style="text-decoration: underline;">6. Doe she/she accept responsibility?</span> Edmund does accept responsibility and knows the power of the decisions that he makes. He accepts responsibility for his actions near the end of the play as he tries to save Cordelia and Lear. <span style="text-decoration: underline;">7. Does he/she have any pets?</span> Edmund has his very own horse that he was given to on his eleventh birthday that he named snowflake. He has no other pets and mostly just uses snowflake for transportation. <span style="text-decoration: underline;">8. Does he/she have any hobbies?</span> Any strategy based game such as chess or checkers Edmund is a fan of, but only if he is facing a weaker opponent that he can beat fairly easily. <span style="text-decoration: underline;">9. Is he/she married and what kind of relationship is it?</span> Edmund is not married <span style="text-decoration: underline;">10. How would this person react if they were the only witness to a murder?</span> It would depend who was being murdered, but if it was a random person, Edmund would most likely challenge the opponent to try and defeat him to make himself seem like a hero. <span style="text-decoration: underline;">11. Could he/she have any mental problems?</span> Edmund has definitely developed some serious self-esteem issues because of this status as a bastard, so he has developed an inferiority complex. <span style="text-decoration: underline;">12. What facial expressions does he/she most frequently use?</span> Edmund is observed at all times would be witnessed most often smirking. This is often after he defeats someone at something or dupes someone into falling into a trap he has devised. <span style="text-decoration: underline;"> </span> <span style="text-decoration: underline;">13. Was he/she smart in school or their place of work?</span> Extremely. Edmund can always be relied to voice a strongly educated answer to a problem that arises on Gloucester’s desk. His wit helped him formulate this scheme and earned him Gloucester’s trust. <span style="text-decoration: underline;">14. Would you consider this person sporty? Why?</span> Edmund is sporty and has always been able to hold his own in any match or duel of any sort. He is not the best to go into a match, and is more successful at sports in which strategy is involved more so such as fencing. <span style="text-decoration: underline;">15. Would you consider this person to have traveled widely?</span> Edmund has traveled all throughout Britain and knows the geography of the land quite well. Although he has never left Britain, his extensive travels around the region itself are impressive for the time period. <span style="text-decoration: underline;">16. What kind of food does this person like most and why?</span> Edmund likes the classy stuff, such as veal or lamb made by Gloucesters own personal chef. Edmund doesn’t really care about the food stself, but having food prepared for him gives him a sense of power. <span style="text-decoration: underline;">17. Does this person like music? What kind?</span> Edmund is definitely a fan of soft rock bands like the Fray, and Coldplay. They often portray themes of sadness or depression that Edmund sympathizes to and therefore, he really connects with that genre and those particular artists. <span style="text-decoration: underline;">18. Does this person drink a lot of alcohol?</span> Edmund does not drink a lot of alcohol. Edmund is birthed from an alcoholic engagement and he doesn’t want another bastard to be born and face the ridicule that he had faced. <span style="text-decoration: underline;"> </span> <span style="text-decoration: underline;">19. What do you think this person is like at home alone?</span> Edmund is a very mopey and self loathing person, and he reflects that when he is by himself. He mostly likes to think and sort things out in his head and devise plans. <span style="text-decoration: underline;"> </span> <span style="text-decoration: underline;">20. Does he/she believe in God?</span> Edmund does not believe in God due to the tough life that he has faced so far. He doesn’t elieve that a God would create such an agonizing existence for him while his brother Edgar lives happily. <span style="text-decoration: underline;"> </span> <span style="text-decoration: underline;">21. In whose company is he/she most likely to be seen?</span> He works under his father and is most often seen with Gloucester. <span style="text-decoration: underline;"> </span> <span style="text-decoration: underline;">22. What are this persons views on war?</span> Edmund sees war as a tool to try to accomplish his goals. He is neither for nor against it, but will wage war when it is in alignment with his own pursuits. <span style="text-decoration: underline;"> </span> <span style="text-decoration: underline;">23. Is this person in any way a musician?</span> Not in the slightest. Played the flute when he was really young though. <span style="text-decoration: underline;"> </span> <span style="text-decoration: underline;">24. Does this person buy cheap or expensive things?</span> Edmund tries to buy as much expensive clothes and merchandise as possible to appear in higher status. The material thigns make him feel more secure with his life as a bastard. <span style="text-decoration: underline;"> </span> <span style="text-decoration: underline;">25. What kinds of colors would this person wear?</span> Edmund wears darker shades of any colors, particularly blue, red, and black. He thinks it makes him look strong and powerful, so that is why he decides to wear those colors. <span style="text-decoration: underline;"> </span> <span style="text-decoration: underline;">26. What makes this person laugh?</span> Edmund mostly laughs at physical humor, such as someone falling down, or getting hit I the groin, but he also enjoys eloquent jokes if they are clever enough. He does not like fart jokes or simple jokes. <span style="text-decoration: underline;"> </span> <span style="text-decoration: underline;">27. Does this person have self-confidence? Why or why not?</span> Edmund has so little self-confidence due to society shunning him because of his bastardly title. Therefore, he has no real confidence, but compensates for it with a charming front. 28. Is this person clumsy? Edmund is not clumsy and is very proficient when it comes to hand eye coordinated activities such as swordplay. 29. Does this person brag? Edmund will brag when he is in the company of someone with who he knows have less social power than he does so he can reaffirm his own status as the son of a king, albeit a bastard. 30. Is he/she involved in politics? Edmund is very involved in politics and tries to get himself involved as much as possible with formulating policy. He often advises Gloucester on policies that Gloucester is working on. Edmund tries to get his nose into any decisions to see if they benefit hi interests. 31. Does this person get along with older/younger people? If anything, Edmund gets along with older people because he can be very respectful when he wants to be. He doesn’t respect younger people, and therefore, is very rude to them, and therefore, doesn’t get along with them. 32. Does this person speak well or poorly? Edmund speaks sophisticatedly, and is often able to articulate most of his feelings, and means what he says. He speaks well enough to be able to successfully trick educated men into falling into his schemes. 33. What would this person do if a homeless person approached them? Edmund would walk straight pass that homeless person as if he was dirt. Edmund isn’t inherently cruel enough to hurt or to strike the homeless person, but he doesn’t want to be seen talking or being with someone of such low class. 34. What kind of magazines/books would this person read? Edmund isn’t really into magazines, but he reads quite a lot. He is only interested in books that have quite a lot of action and emotionally driven characters. His favorite books series is the Hunger Games. 35. How would this person react to being caught in a storm, fire etc? Edmund is looking out for himself first, so he would likely try to find the fastest way out of the situation, even if it has negative consequences for everyone around him. He would steal the only tent during a storm and then go off and stay under it alone. 36. What is his / her favorite TV show? Edmund absolutely loves Netflix’s House of Cards. The political drama is all about betrayal and revenge by a person who had been wronged. He really relates and was even inspired by Kevin Spacey’s character. 37. Does this person like animals? Edmund is pretty indifferent toward animals. He has always been a proficient hunter but never really had a passion for it. However, if Edmund were to choose to be around or not be around an animal, he would chose to not be around the animal. 38. What kind of temper does this person have? Edmund has a very deep anger, but is usually able to keep his cool under most situations. Although he has been talked down to his entire life, he has never lashed out at anyone before this sequence of events occurred once Lear gave up his kingdom. 39. What is his/her favorite season? Edmund’s favorite season is winter. The cold makes him feel warm, and he likes the way the cold air tastes on his tongue. It makes him feel relaxed? 40. What would make this person cry? Why? If Gloucester were to make any malicious remark about him, or specifically state that he loved Edgar loads more than Edmund, it would send Edmund into a rage fit where tears would be shed.</a><a href="http://nathanblom.com/edmundcharacteranalysis/"> </a></p>
<p style="text-align: center;" align="center"><a title="Shakespeare’s Mockery of the Nobility Essays" href="http://nathanblom.com/shakespeares-mockery-of-the-nobility-essays-katiasamisabellejosephkatherine/#KatiaEssay">Commentary on Discrimination</a></p>
<p align="center"><a title="Shakespeare’s Mockery of the Nobility Essays" href="http://nathanblom.com/shakespeares-mockery-of-the-nobility-essays-katiasamisabellejosephkatherine/#KatiaEssay">by Katia Czartorysky</a></p>
<p><a title="Shakespeare’s Mockery of the Nobility Essays" href="http://nathanblom.com/shakespeares-mockery-of-the-nobility-essays-katiasamisabellejosephkatherine/#KatiaEssay" target="_blank" rel="noopener">The play immediately begins with what seems to be a pattern – the discrimination of people based upon circumstances uncontrollable. For example, Edmund being ridiculed for being a bastard, and Cordelia, who being the honest one is banished by her own father, the king. This theme continues when Cordelia’s future husband, France, opposes to King Lear’s superficial mindset and replaces the duke of Burgundy who originally planned on marrying Cordelia. Another theme arises of superficiality; the two other sisters Goneril and Regan, Burgundy, and Lear prefer money and riches rather than the honest and moral way. As the scene ends with Goneril and Regan planning to limit their father’s authority, I predict that they will abuse their power without recognition of the duties affiliated with their upmost royalty. I feel that the morale will be the escape of corruption within the upper class, perhaps and underlying political statement being made by Shakespeare in the play. Cordelia represents the proper ethics that one should go by in order to avoid the tragedy that is about to occur.</a></p>
<a title="Jodi’s Page" href="http://nathanblom.com/jodis-page/#Alex's Essay" target="_blank" rel="noopener">As I read on into King Lear, some of the dialogue spoken earlier materializes. Especially Edmund’s soliloquy of how men compare themselves to stars when they really are subject to the violent and involuntary wills of the gods who see them as nothing more than flies. Perhaps the tragedy that worsens as the play progresses is a reminder of the damage and the debt that the characters must pay for their mistakes. What still strikes me in “King Lear” is Edmund’s unparalleled character. He literally cannot be compared to anyone in the play, even though he projects small similarities of everyone.</a> <a title="Jodi’s Page" href="http://nathanblom.com/jodis-page/#Alex's Essay">-Alex Chipilo</a>
<p dir="ltr"></p>
<a title="Jodi’s Page" href="http://nathanblom.com/jodis-page/#Cassie's Essay" target="_blank" rel="noopener">After the first scene of the play, it became evident that King Lear holds himself to high esteem. Not only does he demand that his daughters shower him with flattering professions of love, but he is the one who determines if their love is good enough. However, when Lear disowns Cordelia and strips her of her dowry, this action seemed very extreme. While she spoke truthfully from her heart, “truth then be [her] dower” (Shakespeare, 1.1.120). This was a shocking twist of events particularly considering how she was his favorite child. Lear goes on to say, “Here I disclaim all my paternal care, propinquity and property of blood” (1.1.125) The use of consonance instills the feeling of rage in Lear’s voice.</a> <a title="Jodi’s Page" href="http://nathanblom.com/jodis-page/#Cassie's Essay">However, does Lear’s rash characteristic foreshadow a fatal flaw in Lear’s character as outline in Aristotle’s definition of tragedy? Or is there something deeper, perhaps subtext, that occurs emotionally?</a> <a title="Jodi’s Page" href="http://nathanblom.com/jodis-page/#Cassie's Essay">This would also be a good time to mention that little is described about Lear prior to the opening scene. This leaves a lot of room for speculation as to his background and what events may have shaped him as a man. Obviously, he is a single-father or a widower. Who was his wife/mistress?</a> <a title="Jodi’s Page" href="http://nathanblom.com/jodis-page/#Cassie's Essay">-Cassie Mak</a>
<a title="Familial Relationships" href="http://nathanblom.com/familial-relationships/#FeliciaEssay" target="_blank" rel="noopener"><span style="color: #1a1a1a;"><span style="font-family: 'Times New Roman', serif;"><span style="font-size: medium;">After reading this small portion of King Lear I have become very frustrated with the King and his family. A question that has stayed with me through yesterday’s exercise and tonight’s reading was why Lear needs so much reassurance in terms of his status with his children? He is already a powerful king and has many loyal subjects who love him dearly. I do understand that a child should love their parent, but not more than they have to. I love my parents, but I will love my future husband more. They have given me life, but they are entitled to all of my love for the remainder of eternity. In addition, his other two children were being highly untruthful. It seems to me curious, not to say obscene, that a father can demand so much of his children. I am sure that when I have children, I will love them unconditionally, but I do not expect them to do the same for me. France says “Love’s not love when it is mingled with regards that stand aloof from th’ entire point” (263-265). This is to say that when one loves another, they are only allowed to love that one person. Their love cannot be divided amongst several people or things. I find this disturbing. I know that I cannot love only one thing or one person in my life, so how can I expect others to do that? I am still extremely perplexed by Lear’s need for affirmation of his status. He is already close to death and knows how many people feel about him. Why does he need that one last piece of reassurance from the people who are closest to him? He should know that they love him, or accept their feelings for him. He shouldn’t seek out confirmation.</span></span></span></a> <a title="Familial Relationships" href="http://nathanblom.com/familial-relationships/#FeliciaEssay" target="_blank" rel="noopener"> </a> <a title="Familial Relationships" href="http://nathanblom.com/familial-relationships/#FeliciaEssay" target="_blank" rel="noopener"><span style="font-family: 'Times New Roman', serif;"><span style="font-size: medium;"><span style="color: #1a1a1a;">– Felicia Schneider</span></span></span></a>
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<a title="Nature in King Lear" href="http://nathanblom.com/nature-in-king-lear/#ScottEssay" target="_blank" rel="noopener">The Roar of the Storm</a>
<p dir="ltr">There are many themes, metaphors and symbols in William Shakespeare’s play, King Lear. One major theme is the ability for the characters to see the truth about themselves and others around them. The funny thing is that many of the characters in King Lear are blind to the truth. In Shakespeare’s works, the meaning behind blindness is always much greater than its physical hindrance. When a character in a Shakespearian play experiences blindness, whether it is physical or not, it is illustrating a tragic flaw. Two major players in King Lear are subject to blindness: Gloucester, a powerful Lord in Lear’s court, and King Lear himself. Gloucester and Lear’s blindness are uniquely similar and intertwined. In act 1, scene 1, line 45, Lear declares to his three daughters that in exchange for their love, he will pass down his inheritance to them equally. His eldest daughters lie and embellish the truth while his youngest daughter tells him that her love for him is like a daughter’s love for her father should be. Lear chooses to believe his eldest daughters and banish his youngest for not loving him as much as her sisters did – or said they did. This is the first act of Lear’s blindness and also the catalyst to the rest of Lear’s story. Gloucester has two sons: his biological son, Edgar, and Edmund, his bastard child. As the play progresses, Edmund pits Gloucester against Edgar in an evil act of revenge for feeling neglect his whole life. Gloucester is blind to the lies that Edmund feeds him which begins the triangle between the two sons and their father that persists throughout the play. Both Lear and Gloucester are blind to the truth and their ultimate demises at the end of the play physicalize how influential symbolic blindness in Shakespeare’s plays are; Lear loses his mind and to further emphasize Gloucester’s blindness, he actually becomes blind. Shakespeare is putting forth a moral that you should always seek the truth before making ignorant decisions. Like kids are taught when they are young, don’t judge a book by its cover.</p>
<p> -Sadie Scott</p>
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<a title="Sparkly Gay Unicorn Peeps (Ray/Alex/Carina/Ilham/Sophie)" href="http://nathanblom.com/sparkly-gay-unicorn-peeps/#IlhamEssay">Powerful Female Characters</a> <a title="Sparkly Gay Unicorn Peeps (Ray/Alex/Carina/Ilham/Sophie)" href="http://nathanblom.com/sparkly-gay-unicorn-peeps/#IlhamEssay">By: Ilham Moumou</a> <a title="Sparkly Gay Unicorn Peeps (Ray/Alex/Carina/Ilham/Sophie)" href="http://nathanblom.com/sparkly-gay-unicorn-peeps/#IlhamEssay" target="_blank" rel="noopener">As I read through the first few pages of the play, I realized that it is very ignorant of Lear to ask his daughters to express how much they love him. This should be an action that comes from a sincere place within a person. Very bluntly and without hesitation, King Lear questioned, “Which of you shall we say doth love us most” (1.1.56)? What is even odder is that Lear’s older daughters; Goneril and Regan, instantly respond with flattery (as if they planned to do this). This deed ironically shows how ambitious these women are. Goneril and Regan know exactly what they want and will do whatever it takes to get it; even if it means expressing artificial love. This makes me wonder: do they truly love their father? Although, this can be considered a mischievous act, these women can be characterized as powerful and almost masculine.</a> <a title="Sparkly Gay Unicorn Peeps (Ray/Alex/Carina/Ilham/Sophie)" href="http://nathanblom.com/sparkly-gay-unicorn-peeps/#IlhamEssay">On the contrary, Lear’s youngest daughter; Cordelia, refuses to speak. Similarly, she knows exactly what she is doing and does not let anyone change her mind; not even her father who is negatively impacted by her words. It is a very honorable thing to do because it shows how much she truly loves him (no sugarcoated statements are needed to express that). With that being said, all three of the daughters express what they believe would essentially benefit them; characterizing them as powerful, ambitious, and focused.</a>
<p dir="ltr">Commentary by Juliann Persina</p>
<p dir="ltr"><a title="King Lear Family Analysis" href="http://nathanblom.com/king-lear-family-analysis/#JuliannEssay" target="_blank" rel="noopener">“Which of you shall we say doth love us most, That we our largest bounty may extend” (I, i, 51-52). Lear thinks very highly of himself, and wants to be reminded of this with the flattery of his daughters. Lear is so blinded by his own arrogance that he would rather receive lip service from Regan and Goneril than the truth from Cordelia. Since he prefers to be showered with false compliments, this comes back to create more problems for Lear. King Lear’s materialism lies not only in his property, which he uses as an upper hand over his daughters (at least while he can); but also in the empty love that his few family members devote to him. Goneril and Regan value the most literal form of materialism, in power and land. Cordelia values trust and honesty, and her wealth comes from being a genuine person and loving those around her. However, all these characters are willing to let their individual values place higher importance over the bond of family. The characters are all hypocritical, “Their deliberate hypocrisy adds the last finishing to the odiousness of their characters” (Hazlitt). Even though Cordelia says she only loves her father as much as any other daughter, she ends up treating him better than anyone else, forgiving him, and taking care of him. Regan and Goneril claim that they have no desire for anything else in the world, except their love for Lear, yet they are the most power hungry daughters around. King Lear claims he doesn’t want the burden of his kingdom in his old age, and ends up receiving the burden of dealing with all the events that follow his initial proclamation. The irony of Lear being locked out, homeless, in the cold by the daughters that you placed the utmost trust in, demonstrates that with great wealth also comes major problems. Lear deserved what came to him, due to his belief in the illusion of love from his deceiving daughters. Lear proves that material wealth can’t necessarily buy the wealth that love and family can provide.</a></p>
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<p><span style="color: #000000;"><span style="color: #000000;"><a href="http://vimeo.com/http://vimeo.com/85990800?width=640&height=480" rel="wp-video-lightbox"><img class="alignnone" src="http://nathanblom.com/wp-content/uploads/2014/01/video-icon.png" alt="Video" width="17" height="”17”" /></a></span></span></p>
<p><span style="line-height: 1.5em;">Cordealia Commentary</span></p>
<p>by Katerina Skassi</p>
<p>Cordelia is a prime example of a good and honest person. In fact, she is almost ideal because she takes such a strong stance against phony. She still would have come off as a good person even if she had exaggerated her love for her father a bit to flatter him and make him feel better; she did not have to be as honest as she was. The fact that she was so clear and honest shows her purity in character. Besides being pure and honest, Cordelia is also brave. She was not afraid to unveil the fakeness of her sisters with her words. She says in lines 250-253 that she is glad she is not like them, even if it means losing her fathers liking. Kent is also an example of bravery and honesty. He lost everything in an attempt to protect King Lear from his sly daughters.</p>
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<p><a title="Wisdom in Madness – King Lear" href="http://nathanblom.com/wisdom-in-madness-king-lear/#MandellEssay" target="_blank" rel="noopener">Cordelia’s self-assigned duties are traditionally feminine. She seems to be very obedient. She is portrayed as if her value is in the love of her father. So, it is in relation to men, not intrinsic. Cordelia does not claim that her qualm with her father asking his children to prove their love is self-indulgent and encourages lying, but rather exclaims “Then poor Cordelia! And yet not so, since I’m sure my love’s more ponderous then my tongue” (Shakespeare, 1.1.85-88). She is saying that she lacks the creativity to express her love in poetic terms like her sisters; her tongue is not “ponderous”, but she hopes her love will be evident regardless. She says later “Unhappy that I am, I cannot heave my heart into my mouth” (Shakespeare, 1.1.100-101), emphasizing that she does not have the ability to demonstrate her love like her sisters. So she is not opposed to the exercise but rather dismayed that she cannot do well at it. While, Lear is wrong to give the land to the Goneril and Regan because they are better spoken, Cordelia is not disobeying her father or standing up for herself like she should be. Yet, she is idolized for her feminine simplicity. In fact, Goneril and Regan seem to be well learned and articulate, but this trait is scorned. The scene seems to suggest that an educated talkative woman is troublesome which was a typical view at the time. </a> <a title="Wisdom in Madness – King Lear" href="http://nathanblom.com/wisdom-in-madness-king-lear/#MandellEssay">– Lena Mandell</a></p>
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<a title="Sparkly Gay Unicorn Peeps (Ray/Alex/Carina/Ilham/Sophie)" href="http://nathanblom.com/sparkly-gay-unicorn-peeps/#CarinaEssay">Carina Kahane</a> <a title="Sparkly Gay Unicorn Peeps (Ray/Alex/Carina/Ilham/Sophie)" href="http://nathanblom.com/sparkly-gay-unicorn-peeps/#CarinaEssay">Although Shakespeare wrote King Lear centuries ago, the opening scene very much relates to modern day society; how the louder and more boisterous one is, the more celebrated they are, meanwhile genuine, honest people are often under-appreciated. In my opinion, there is nothing more valuable than a person who acts on his/her true feelings and does not have an agenda behind his/her actions. Cordelia, the youngest daughter, embodies this honest person, while her two older sisters, Goneril and Regan, falsely profess their love onto King Lear in order to inherit his land. Cordelia knows that true love can’t be verbalized and says to herself, “I am sure my love’s/ More ponderous than my tongue.” (Shakespeare, 86-87) Her two older sisters are rewarded for their fake and exaggerated expression of their “love” and Cordelia is scolded for her honesty. Cordelia’s ethical action followed by Lear’s hateful reaction raises a worthwhile question; is it better to be a good person or be perceived as one?</a> <a title="Sparkly Gay Unicorn Peeps (Ray/Alex/Carina/Ilham/Sophie)" href="http://nathanblom.com/sparkly-gay-unicorn-peeps/#CarinaEssay"></a>
<p align="center">“Music to Our Ears”</p>
<p> A ray of emotions and hasty actions occurred when King Lear asked his daughters, “Which of you shall we say doth love us most…” (1.1.56). From Regan and Goneril’s ambitious and artificial response, to Cordelia’s heartfelt refusal; my musical composition displays the daughter’s reactions to Lear’s request for dividing his kingdom. Using the Soundation Production site, I utilized music samples as well as live instruments to portray and mimic the intense yet ironic dialogue between Lear and his three daughters: Cordelia, Regan, and Goneril. In the beginning of the record, one can hear the piercing high violin. This represents Goneril and her swift and go-getting response of flattery to her father King Lear when he asked her to express her love. Essentially eager and indomitable in her goal to possessing power, Goneril rapidly began to shower her father with fabricated and insincere complements; “Sir, I love you more than word can wield the matter…” (1.1.61). The high violin can be characterized as legato and very well connected. It indicates how Goneril manipulated Lear and was rather “smooth” and successful in coming up with a response that directed her to what she truly desired: power. Under the high violin, one can hear the orchestra in D minor. Correspondingly characterized as flamboyant and noticeable, it represents Regan and her determined response to Lear. These two instrumental recordings are the most detected by a listener—representing how Regan and Goneril’s responses were most noticed and appreciated by Lear. “…I am alone felicitate in your dear Highness’ love…”(1.1.84) Regan expresses, as Lear believes in her artificial words. In my composition, one could observe how the melody is carried throughout the orchestra part. The minor key also foreshadows Cordelia’s response which is revealed in the piano solo towards the end of the piece. While I chose to represent Goneril and Regan with powerful piercing instruments, Cordelia receives the soft elegant piano. Though Cordelia’s response was quite harsh in Lear’s eyes, it was the most sincere response she could have given. Love is a feeling that comes from within the heart and soul; therefore, not necessary to be expressed forcefully. Once the Orchestra and violin parts diminish, one can clearly hear the piano as I play a couple of simple chords, which represents Cordelia’s honest response. Near the end of this composition, I silence all of the instruments, and allow only the drum’s to play; which not only is the foundation of music, but also represents Lear, who in parallel is the foundation and initiator of this whole saga with his daughters. -Ilham Moumou <span style="color: #000000;">.</span></p>
<p align="LEFT"><a title="Familial Relationships" href="http://nathanblom.com/familial-relationships/#MichelleEssay" target="_blank" rel="noopener"><span style="color: #1a1a1a;"><span style="font-family: 'Times New Roman', serif;"><span style="font-size: medium;">I found the first scene of King Lear to be very interesting for one reason alone: it brought up a lot of questions about who King Lear was as a person. He made very abrupt character changes in Act 1, Scene 1, particularly with his daughter Cordelia. First, the reader notices that Cordelia is Lear’s favorite daughter, which leads the reader to believe that she will inherit the biggest portion of his money and land. In the next few lines Cordelia exclaims, “Unhappy that I am, I cannot heave my heart into my mouth. I love your majesty according to my bond, no more nor less,” (I. ii. 100-102) explaining that she loves her father as a daughter should, but can not lie to tell him that he’s the center of her universe. Being the only honest daughter, she explains that she can not use her heart as a weapon to gain power from her father’s lands. She understands that love and affection must remain separate from power to keep a family stable. On the other hand, her sisters Regan and Goneril professed their love to Lear without question, driven by greed. This brings upon a great change in Lear’s opinion on who should receive his inheritance, even banishing his ‘favorite’ daughter Cordelia from the palace. Does this mean that King Lear cares more about power than his own family? Is this his downfall?</span></span></span></a></p>
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</p><p align="LEFT"><a title="Familial Relationships" href="http://nathanblom.com/familial-relationships/#MichelleEssay" target="_blank" rel="noopener"><span style="color: #1a1a1a;"><span style="font-family: 'Times New Roman', serif;"><span style="font-size: medium;">– Michelle Elea Belio</span></span></span></a></p>
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<a title="The Parallelism of King Lear (and His Daughters) and Gloucester (and His Sons)" href="http://nathanblom.com/the-parallelism-of-king-lear-and-his-daughters-and-gloucester-and-his-sons/#SophiaEssay" target="_blank" rel="noopener">King Lear’s command that his daughters profess their love for him and his wish that they love him more than all else is telling. It shows that Lear is selfish and foolish and that his love for his daughters is not as strong as his vanity. Cordelia very wisely points out that her sisters ought also to love their husbands.</a> <a title="The Parallelism of King Lear (and His Daughters) and Gloucester (and His Sons)" href="http://nathanblom.com/the-parallelism-of-king-lear-and-his-daughters-and-gloucester-and-his-sons/#SophiaEssay"> </a> <a title="The Parallelism of King Lear (and His Daughters) and Gloucester (and His Sons)" href="http://nathanblom.com/the-parallelism-of-king-lear-and-his-daughters-and-gloucester-and-his-sons/#SophiaEssay">A loveless marriage is not something that any father should wish for his daughters. If Lear truly cared for his daughters as he demands they profess to care for him, he would not wish that they loved him all but rather that they were happy in their own lives and would continue without him.</a> <a title="The Parallelism of King Lear (and His Daughters) and Gloucester (and His Sons)" href="http://nathanblom.com/the-parallelism-of-king-lear-and-his-daughters-and-gloucester-and-his-sons/#SophiaEssay"> </a> <a title="The Parallelism of King Lear (and His Daughters) and Gloucester (and His Sons)" href="http://nathanblom.com/the-parallelism-of-king-lear-and-his-daughters-and-gloucester-and-his-sons/#SophiaEssay">Lear is also foolish in his blind absorption of the praises which his two elder daughters pile upon him; were he wise, he would see that it is unlikely that his daughters truly love only him, and not one another or their husbands. He would realize that Cordelia’s assertion that she knows she will not always love him above all shows honesty and that the love which she does claim she has for him, if not eloquently expressed and excessive, is true. He would not be so fast to disregard Cordelia, whom he thought loved him most, because of a few honest phrases.</a> <a title="The Parallelism of King Lear (and His Daughters) and Gloucester (and His Sons)" href="http://nathanblom.com/the-parallelism-of-king-lear-and-his-daughters-and-gloucester-and-his-sons/#SophiaEssay"> </a> <a title="The Parallelism of King Lear (and His Daughters) and Gloucester (and His Sons)" href="http://nathanblom.com/the-parallelism-of-king-lear-and-his-daughters-and-gloucester-and-his-sons/#SophiaEssay">-Sophia Feist</a>
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<a title="Sexism, Edmund, and the Fool" href="http://nathanblom.com/sexism-edmund-and-the-fool/LindseyEssay" target="_blank" rel="noopener">I found the first scene from Act one to be interesting, especially in comparison to other Shakespeare plays I’ve read. Most of Shakespeare’s plays have intricate plots that take a while to unfold, and piece by piece it all fits together. I know somewhat what the main theme of King Lear is, about love and the expression of it, and so I was surprised at how much happened in the very first scene alone. I felt as if the main event of the play had gone by in the very first pages. It made me think that the characters are more representative of different types of people, and that the reactions of the many characters in the play to Cordelia’s actions in comparison to the actions of her sisters is what matters most. We are intended to consider the drastically different reactions to Cordelia’s words, for each reaction seems to represent a certain personality: There are those who value honesty the most and willing to lose everything for it (Cordelia), there are those who will do whatever possible to get what they want and promote false declarations of love for it (Regan and Goneril), there are people who are seemingly egotistical enough that they are satisfied with superficial expressions of love (Lear), etc. I loved and enjoyed analyzing the different types of people and the vast array of morals put on display for us in the first scene.</a> <a title="Sexism, Edmund, and the Fool" href="http://nathanblom.com/sexism-edmund-and-the-fool/LindseyEssay">-Lindsey Wolfram</a> <a title="Sexism, Edmund, and the Fool" href="http://nathanblom.com/sexism-edmund-and-the-fool/LindseyEssay"><span style="color: #000000;"></span></a>
<p><span style="color: #000000;"><a title="This is a visual portrayal of the first scene of King Lear when Lear asks his three daughters to express their love for him and is appalled at Cordelia's lack of words. In this collage, Cordelia is directly facing the sun to show that she is enlightened and sees no other option than accepting and telling the truth. Meanwhile, although King Lear can see the sun, he is blocking it with his hands, and does not embrace the light the way Cordelia does. This symbolizes his refusal to accept the truth for what it is and his internal battle against reality. He wants to believe that Cordelia, his favorite daughter, loves him infinitely, but this truth is, she doesn't. Although Cordelia loves her father very much, her love is naturally limited. The black and grey smoke surrounding Lear represents his inner darkness, insecurity, and vanity. Because the light (the truth) is visible to Lear, he has a choice whether to accept the truth or get dragged down by his own darkness. Unfortunately, he makes the choice to succumb to his insecurity and shallow nature. This scene with his daughters is the impetus of his tragic downfall. Goneril and Regan's image is the smallest in order to represent that they are extremely small people warranting no sympathy. They are outlined in red and have two devil ears to highlight their devilish and cruel hearts and intentions. Cordelia's heart is in a locked up box to symbolize that she feels that her love for her father is sacred and too valuable to be artificially expressed in words. The flowers to the right of Cordelia's head symbolize her purity and goodness. The image of Cordelia is by far the largest, in order to show that she is the biggest person. -Carina Kahane" href="http://nathanblom.com/wp-content/uploads/2014/02/photo-3.jpg"><img class="alignleft size-full wp-image-405" src="http://nathanblom.com/wp-content/uploads/2014/01/Icon-Image-e1390235028190.png" alt="Icon - Image" width="20" height="20" /></a></span></p>
<p lang="en-US" align="LEFT"><a title="Familial Relationships" href="http://nathanblom.com/familial-relationships/#FeliciaEssay" target="_blank" rel="noopener"><span style="color: #000000;"><span style="font-family: 'Snell Roundhand', serif;"><span style="font-size: large;">20th of December 1653</span></span></span></a></p>
<p lang="en-US" align="LEFT"><a title="Familial Relationships" href="http://nathanblom.com/familial-relationships/#FeliciaEssay" target="_blank" rel="noopener"><span style="color: #000000;"><span style="font-family: 'Snell Roundhand', serif;"><span style="font-size: large;">Dearest Diary,</span></span></span></a></p>
<p><a title="Familial Relationships" href="http://nathanblom.com/familial-relationships/#FeliciaEssay" target="_blank" rel="noopener"> </a></p>
<p lang="en-US" align="LEFT"><a title="Familial Relationships" href="http://nathanblom.com/familial-relationships/#FeliciaEssay" target="_blank" rel="noopener"><span style="color: #000000;"><span style="font-family: Helvetica, sans-serif;"><span style="font-size: medium;"><span style="font-family: 'Snell Roundhand', serif;"><span style="font-size: large;"> It is I, Cordelia. I have some dreadful news. I hath been banished! It is quite a long story, but I wilst shorten it for the sake of time. Father asked us to profess our love for him in order to receive his property upon his imminent death. He ask’d Regan and Goneril first and they lied! ‘Tis treachery! They said that they loved him more than anything and that they would do anything for him! HOW COULD THEY LIE?! To Father!! When asked how much I loved him, I said “I love thee to my bond, no more nor less.” And you will </span></span><span style="font-family: 'Snell Roundhand Bold', serif;"><span style="font-size: large;">not</span></span><span style="font-family: 'Snell Roundhand', serif;"><span style="font-size: large;"> guess what followed. I hath said it earlier. HE BANISHED ME! </span></span></span></span></span></a></p>
<p><a title="Familial Relationships" href="http://nathanblom.com/familial-relationships/#FeliciaEssay" target="_blank" rel="noopener"> </a></p>
<p lang="en-US" align="LEFT"><a title="Familial Relationships" href="http://nathanblom.com/familial-relationships/#FeliciaEssay" target="_blank" rel="noopener"><span style="color: #000000;"><span style="font-family: Helvetica, sans-serif;"><span style="font-size: medium;"><span style="font-family: 'Snell Roundhand', serif;"><span style="font-size: large;"> HOW COULD HE? He said it was not fitting of a daughter to act in such a manner. My heart weeps for the loss of my father. I cannot even begin to describe it. I am his only daughter who truly loves him. Regan and Goneril would sell him to a pack of wolves if they could get a shilling or two. He is my father. How can he expect me to love him more than I do my future husband. Oh, and R and G both have husbands and they </span></span><span style="font-family: 'Snell Roundhand Bold', serif;"><span style="font-size: large;">still</span></span><span style="font-family: 'Snell Roundhand', serif;"><span style="font-size: large;"> said they loved Father more than the sum of the sun, moon, and stars. Right in front of their husbands!! I am so appalled by the occurrences of today. Even if I could reverse the rotation of the earth and change it, I would not. I think it is more important to be truthful than to gain. Unfortunately, my sisters do not think the same. Oh well, Diary. Farewell. I shall go cry into a pillow.</span></span></span></span></span></a></p>
<p><a title="Familial Relationships" href="http://nathanblom.com/familial-relationships/#FeliciaEssay" target="_blank" rel="noopener"> </a></p>
<p lang="en-US" align="LEFT"><a title="Familial Relationships" href="http://nathanblom.com/familial-relationships/#FeliciaEssay" target="_blank" rel="noopener"><span style="color: #000000;"><span style="font-family: 'Snell Roundhand', serif;"><span style="font-size: large;">Fare thee well,</span></span></span></a></p>
<p lang="en-US" align="LEFT"><a title="Familial Relationships" href="http://nathanblom.com/familial-relationships/#FeliciaEssay" target="_blank" rel="noopener"><span style="color: #000000;"><span style="font-family: 'Snell Roundhand', serif;"><span style="font-size: x-large;">Cordelia</span></span></span></a></p>
<p><a title="Familial Relationships" href="http://nathanblom.com/familial-relationships/#FeliciaEssay" target="_blank" rel="noopener"> </a> <a title="Familial Relationships" href="http://nathanblom.com/familial-relationships/#FeliciaEssay" target="_blank" rel="noopener">– Felicia Schneider</a></p>
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After the pride driven catastrophe that is the first scene of William Shakespeare’s King Lear, the writer has already evoked sympathy for Lear’s youngest daughter Cordelia. This inciting incident is what implores us to care about Cordelia. When her father makes all of his daughters tell him how much they love him, the first two, Regan and Goneril, jump on the chance to butter their father up in almost an evil stepsisters’ way. After the sisters rant about how much they care for him and love him more than the other one, Cordelia says that she loves him greatly but there will be other men that she will love in her lifetime. Outraged and feeling dishonored, Lear banishes her. One really does feel bad for her in line 133 when Lear refers to her as his “sometime daughter”. She speaks honestly and with no ulterior motive; why should she be punished? In line 243 Lear refers to her as” a wretch whom Nature is ashamed almost t’ acknowledge hers”. He doesn’t even acknowledge her – Reed Lancaster
<p dir="ltr">In King Lear one will find a scary amount of monster references. The monsters are mentioned whenever there is a “betrayal” of kin. Mentioned are dragons, and a child-eating beast called Scythian. Edmund presumes that he was conceived under the Dragon’s tail, and in fact is the product of Gloucester’s betrayal of the his wife (Shakespeare 1.2.99). Gloucester refuses to believe that Edgar is such a monster that he would supplant his own father (Shakespeare 1.2.136). When Kent bravely admonishes Lear against banishing Cordelia, Lear warns Kent to avoid the Dragon’s wrath, which Kent would incur by butting in again (Shakespeare 1.1.130, 136). The monster might be a commentary on the irrationality of those who are affected by the treachery of others in the play, for each time a monster is mentioned, a neighboring betrayal may be found. Lear displays monstrous behavior once Cordelia refuses to proffer confessions of exaggerated love to him, Edmund’s father is at first timid to introduce Edmund as his son, and Gloucester calls one who would betray their filial link a monster. Treachery in King Lear will reward one with the mark of a beast. –<a title="The Three Musketeers" href="http://nathanblom.com/the-three-musketeers/#JoyEssay"> Joy</a> </p>
<p dir="ltr"><a title="King Lear: Families and Connections" href="http://nathanblom.com/king-lear-families-and-connections/#essay1" target="_blank" rel="noopener">The King’s Fatal Mistake Poem (I.i. 125) by Amanda Fazio</a></p>
<p>King Lear once had great power, Till he asked his daughters to shower, Him with love but he got much more, Poor old Lear didn’t expect what he was in for, He banished Cordelia for her honesty, Lear should have practiced modesty, Because what Goneril and Regan planned was devious, Their minds mischievous, While Lear was delirious. They stripped him of his land and left him in the storm, With nothing to keep him warm. They took his power, his status, and fame, Left him with only a crown and felt no shame. Lear once thought his daughters could, But what he misunderstood, How Cordelia was good. Will she save her fallen father? Or will she not even bother? </p>
<p dir="ltr" style="text-align: center;">Lear’s Insanity Commentary</p>
<p dir="ltr" style="text-align: center;">Max Fasanella</p>
<p dir="ltr" style="text-align: left;">Shakespeare’s King Lear is a tragedy rife with decisions and reactions that can appear both rash and bizarre to the audience. The character of King Lear himself shows a pattern of especially poor decisions throughout the play’s entirety. In Lear, the hamartia of his character acts as a driving force within the play. His insanity- manifested in Lear as impulsive actions with a seeming lack of forethought or judgement- causes his character to bring about his own demise. The play begins with an aging Lear, who asks his three daughters to profess their love for him in hopes of receiving a share of his kingdom as dowry. The elder sisters, Goneril and Regan, claim to love him “more than word can wield the matter” (1.1, 60-61), with the second attempting to outdo the first ever still. The youngest, Cordelia, is honest in her word- yet compared to the claims of her elder sisters, this is inadequate in the eyes of her father. Hearing that she will not devote the entirety of her love to him does not please him with its rationality as it should; instead, he flies into a terrible rage and strikes out at her with the revocation of her dowry and his paternal bonds. To put it plainly, she is disowned and banished for speaking the truth, and the Earl of Kent- a loyal subject of the king- is similarly banished for defending her.</p>
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<![endif]--> </span></span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: black;">The Exiles</span></i></b> <span style="color: #000000;"><span id="docs-internal-guid--518d748-0b3e-6292-2be8-d693e790809e" style="color: #000000;"> </span></span><i style="mso-bidi-font-style: normal;"><span style="color: black;">By Desire</span>é<span style="color: black;"> Shepherd</span></i>
<p class="MsoNormal" style="text-indent: .5in;"><span style="color: black;"> </span></p>
<p class="MsoNormal" style="text-indent: .5in;"><span style="color: black;">On top of banishing his only daughter that truly loved him, Cordealia, King Lear also exiled his only true friend named Kent. Kent tried to show Lear that his actions were as a result of him being imprudent (1.1 lines 162-163) and says, “And in thy consideration check, this hideous rashness…The youngest daughter does not love thee least, nor are those empty-hearted whose low sounds reverb no hollowness.” (1.1 lines 153-158) Kent is trying to make less turbid Lear’s judgment on the events that just took place. He wants Lear to see that the people that he rules are much different than the people whom he birthed. His offspring’s love is much different and more concise, but Lear cannot distinguish this because of his nature as King. Kent is trying to show Lear that Gonerril and Regan’s profession of love to him were all bogus claims and just hollow sound. Being King, Lear has also never had a true friend to go against his behavior before Kent. So, in reaction to this foreign oddity, King Lear by nature formed figurative antibodies to get rid of Kent. An interesting fact about Kent is that he was child-less. My comprehension is that those with children are blinded by reality, which is why Kent saw Lear’s situation so clearly.</span></p>
<p><span style="color: #000000;"><span id="docs-internal-guid--518d748-0b3e-6292-2be8-d693e790809e" style="color: #000000;">.</span></span></p>
<p dir="ltr" style="text-align: center;">Seeing Is Not Believing Commentary</p>
<p dir="ltr" style="text-align: center;">Isabelle Leipzinger</p>
<p dir="ltr" style="text-align: left;">Shakespeare uses deliberate language and irony to showcase King Lear’s inability to perceive what is true and what is false. When Kent tries to convince King Lear that Lear’s older daughters were merely acting and Cordelia was actually being truthful, King Lear says, “Out of my sight!” to which Kent replies “See better, Lear, and let me still remain/The true blank of thine eye” (I. i. 169-181). This is ironic, because Lear is yelling “Out of my sight” to another person when the truth of the situation is out of Lear’s sight. A frustrated Kent yells back, “See better,” which denotes that he is imploring King Lear to see beneath the surface and not just what he wants to believe. Another strong irony in this play is the fact that a literal blindness and figurative blindness do not go hand in hand. In fact, they are diametrically opposed. When Gloucester has vision, he is completely blind to reality and his sons’ motives. Later in the play when his eyes are gouged out, he “sees” things as they really are. There is a parallel irony with sanity and insanity. In the beginning of the play, when King Lear seems sane, he completely misperceives reality and makes bad decisions. Later in the play, when he is supposedly going insane, he comes to his senses and gains a figurative sight that he previously did not demonstrate.</p>
<a title="Purpose of the Fool" href="http://nathanblom.com/purpose-of-the-fool/#LucysEssay" target="_blank" rel="noopener">I find it odd that Lear would banish the two most honest and genuinely good people in his life, who are also the two who love him most. Cordelia and Kent speak honestly to Lear and he pushes both of them away. Humans have the tendency to take the closest people to them for granted and end up isolating themselves. It is a possibility that Shakespeare is trying to convey through this scene how important it is to keep the people who are dearest to you close, or it may lead you to your biggest downfall. I also find it interesting that when Lear does mend his relationships with Kent and Cordelia, it is too late and he loses Cordelia, then his own life. This also shows how important it is to appreciate those who love you before they are gone.</a> <a title="Purpose of the Fool" href="http://nathanblom.com/purpose-of-the-fool/#LucysEssay" target="_blank" rel="noopener">– Lucy Gatanis</a>
<p id="id00118"></p>
<a title="#perception" href="http://nathanblom.com/cjtnv/#ChelseaFingalEssay" target="_blank" rel="noopener">Much is revealed within the first scene of King Lear. The characters are introduced and the audience has began to become acquainted with them. An apparent sibling rivalry reveals itself near the close of the scene with the words of Cordelia, directed towards her eldest sisters, Goneril and Regan. “I know you what you are, and like a sister I am most loath to call your faults as they are named (1.1.278-280).” This line reveals much about all three sisters. Goneril and Regan do not genuinely care for their father as they have previously claimed, and their sister knows this. Yet Cordelia also knows that it is not her place to criticize her older siblings, attempting to keep her accusations hushed. She, however, cannot help but let a final warning escape before she leaves her fathers kingdom, “Time shall unfold what plighted cunning hides, Who covers faults at last with shame derides (1.1.289-290).” Cordelia exclaims that Goneril and Regan’s dishonesty will soon be uncovered and they will pay the consequence for their actions. Such a powerful ending to the beginning scene, prepares the audience for what will be a tumultuous and emotionally dramatic performance.</a> <a title="#perception" href="http://nathanblom.com/cjtnv/#ChelseaFingalEssay" target="_blank" rel="noopener">– Chelsea Fingal</a> <a title="#perception" href="http://nathanblom.com/cjtnv/#ChelseaFingalEssay" target="_blank" rel="noopener"></a>
Jacqueline Muallem <em><span style="text-decoration: underline;"><strong>Wither Away</strong></span></em> examined the effects Lear’s madness would have on someone such as Cordelia. Although Shakespeare created Cordelia as a manifestation of all that is good, a person such as the likes of this could never exist in reality. What makes someone good is not that she never feels egotistical sentiments or fear but that she can overcome these emotions to serve her family and society as a good person must. I began to wonder how Cordelia, not as just a character but as a real, complex person, would feel if she was watching her father’s mind disappear. In Wither Away, I attempted to show the emotions she may have felt. <em><span style="text-decoration: underline;"><strong>Wither Away</strong></span></em> Look at you, Your glassy blue eyes Gawking back at me as if I Am a stranger. All your memories Have been whisked away, One by one until you have Nothing left. Your soul is withering Away, Leaving a shell Of who you once Were. Questions encircle, Enveloping, Suffocating, Me. As I look at You. Why us? Why our Family? What have we done To lose you? As you gaze back at us As if We are strangers. Madness. The worse curse That can be Bestowed upon a Person. A family. The disease that has Stolen Everything from Us And still wants More. The monster that Chips away at your Soul, Piece by piece Until you are nothing but an Empty, breathing Body. You have forgotten Everything. Loved ones, Values, Experiences – The things that made You who you Are. And you, You don’t even know That you are missing Them. As the clock ticks, You seep Deeper into Oblivion. I watch your azure Eyes blink, Forgetting, Forgetting, Forgetting, And I cannot help But think Will this happen To Me?
<a title="How Do Lear’s Actions Affect the Course of the Play?" href="http://nathanblom.com/how-do-lears-actions-affect-the-course-of-the-play/#becca_essay" target="_blank" rel="noopener">The authoritative attitude of King Lear is defined immediately within the first scene of the play. Lear will not tolerate anything short of complete devotion from his daughters, even to the point where he banishes his most favored child. This action immediately places Lear in an unflattering light, leaving a daunting first impression on the audience. Lear is not the hero in the opening of his own story.</a> It is also unclear as to whether Goneril and Regan are sincere in character. While at first they show a display of affection that seems exaggerated, the sisters later begin discussing their father’s obvious flaws. Goneril states here that Lear “always loved [Cordelia] most, and with what poor judgement he hath now cast her off appears too grossly.” The two princesses discuss their father’s flaws in hushed tones, sympathizing for their sister, which is unexpected of the two women who have just inherited her property (and presumably by lying). Overall, one can only doubt the integrity of King Lear’s decision to ban Cordelia, especially when his seemingly-loyal daughters do the same. <a title="How Do Lear’s Actions Affect the Course of the Play?" href="http://nathanblom.com/how-do-lears-actions-affect-the-course-of-the-play/#becca_essay" target="_blank" rel="noopener">-Rebecca Santana</a>
Jacqueline Muallem
<p><em><span style="text-decoration: underline;"><strong>Enclosing</strong></span></em> is a poem addressing the political state of Lear’s kingdom. When Lear abdicates the throne leaving Goneril and Regan to seize power, the kingdom begins to deteriorate. In the poem, the lions represent Goneril and Regan. The state of order Lear maintained as King had disappeared. As Lear’s mind worsens, so does the condition of his beloved kingdom. The poem also symbolizes how betrayal and hatred seem to win out over love and justice in the play. <em><span style="text-decoration: underline;"><strong>Enclosing</strong></span></em> When the parade of vibrant colors Lure out the sun, The night is free to perch On the World. The darkness encloses, Suffocating, Chilling. The gates that surround us Dissipate And the lions are free to Come. When the sun is gone, We are their defenseless Prey. They hone in on us, Stalking. They barge in on us, no warning, no Barriers to stop them from Coming. They offer no explanation as they trample Our world. They drag out our memories and bite Out our hearts. They rip all we hold dear from our tight, Tight grasps, replacing them generously With Death and Foreboding. They break off the shells that Enclose us, discarding them in Their darkest of lairs And we rise. Rising in Wisps of smoke. Wondering where our gates Have gone. The moon smiles Nearby. The wind rushes past us, Ignoring, eyes Avert, As we rise, Floating, Disappearing, Gone. And only after the lions have long Been vanquished does the Wind dare to Howl </p>
<a title="King Lear: Families and Connections" href="http://nathanblom.com/king-lear-families-and-connections/#essay2" target="_blank" rel="noopener">Act 1 Sc. 1 by Suzanne Borderies</a>
<p dir="ltr">When I read Act 1 scene 1 of King Lear, I was overcome with a variety of feelings about the characters introduced. The range of emotions I felt in such a brief amount of time was unbelievable. On one hand, I felt pity for Edmund and Cordelia, who both seemed honest and true. On the other hand, King Lear’s two eldest daughters, Goneril and Regan, were so aggravating. Their selfishness and repulsive attitude made me despise them right away. From the way they spoke and acted, it was clear that they did not care about King Lear, and that they just wanted his power and wealth. It was so irritating because they were so obviously lying to him, yet King Lear naively thought their lies were the truth.</p>
<p dir="ltr">Yet, Kent and Gloucester aggravated me even more than the elder daughters. Their casual disrespect towards Edmund for being a bastard showed that this attitude was a recurring event, and that because of their social rank, they could get away with saying these horrid things. Yet, what if the characters were to lose their possessions? How would their actions be impacted? Would they still be the same type of people they are in the play, or would they possibly be less selfish? The characters in this scene were very clearly introduced, and there seemed to be the “archetypal” characters (the evil sisters, the victimized youngest child, the outcast bastard son, the comic relief, etc). Without all of the possessions and power roles, social rank would no longer exist. Without social rank, would these archetypal characters exist? </p>
<p dir="ltr">What I find most interesting about the relationships between the characters in Lear, is not the deception and dishonesty they use against each other, but the language used when communicating. Generally, they speak in a condescending tone, especially those whose social stature is constantly fluctuating, as if they know that their position is only temporary, and try to take the most advantage of their status before it disappears.</p>
<p id="id00157"><span style="color: #000000;">The actual words used are fairly interesting as well. They often change the words used in conversation to fit their individual perspective. Often exaggerating the stance of their opponents, and using language to mock other characters. This generally creates an air of immaturity among people that are meant to lead kingdoms, which personally, was an interesting political stance for Shakespeare to take.</span></p>