Act 1, scene 4

Scene IV. A Hall in Albany’s Palace.

[Enter Kent, disguised.]


If but as well I other accents borrow,
That can my speech defuse, my good intent
May carry through itself to that full issue
For which I rais’d my likeness.—Now, banish’d Kent,
If thou canst serve where thou dost stand condemn’d,
So may it come, thy master, whom thou lov’st,
Shall find thee full of labours.
[Horns within. Enter King Lear, Knights, and Attendants.]

Lear.
Let me not stay a jot for dinner; go get it ready.
[Exit an Attendant.]
How now! what art thou?

Kent.
A man, sir.

Lear.
What dost thou profess? What wouldst thou with us?

Kent.
I do profess to be no less than I seem; to serve him truly that will put me in trust; to love him that is honest; to converse with him that is wise and says little; to fear judgment; to fight when I cannot choose; and to eat no fish.

Lear.
What art thou?

Kent.
A very honest-hearted fellow, and as poor as the king.

Lear.
If thou be’st as poor for a subject as he’s for a king, thou art poor enough. What wouldst thou?

Kent.
Service.

Lear.
Who wouldst thou serve?

Kent.
You.

Lear.
Dost thou know me, fellow?

Kent.
No, sir; but you have that in your countenance which I would fain call master.

Lear.
What’s that?

Kent.
Authority.

Lear.
What services canst thou do?

Kent.
I can keep honest counsel, ride, run, mar a curious tale in telling it and deliver a plain message bluntly. That which ordinary men are fit for, I am qualified in, and the best of me is diligence.

Lear.
How old art thou?

Kent.
Not so young, sir, to love a woman for singing; nor so old to dote on her for anything: I have years on my back forty-eight.

Lear.
Follow me; thou shalt serve me. If I like thee no worse after
dinner, I will not part from thee yet.—Dinner, ho, dinner!—
Where’s my knave? my fool?—Go you and call my fool hither.

[Exit an attendant.]

[Enter Oswald.]

You, you, sirrah, where’s my daughter?

Osw.

[Exit.]

Lear.
What says the fellow there? Call the clotpoll back.—

[Exit a Knight.]

Where’s my fool, ho?—I think the world’s asleep.

[Re-enter Knight.]

How now! where’s that mongrel?

Knight.
He says, my lord, your daughter is not well.

Lear.
Why came not the slave back to me when I called him?

Knight.
Sir, he answered me in the roundest manner, he would not.

Lear.
He would not!

Knight.
My lord, I know not what the matter is; but to my judgment your highness is not entertained with that ceremonious affection as you were wont; there’s a great abatement of kindness appears as well in the general dependants as in the duke himself also and your daughter.

Lear.
Ha! say’st thou so?

Knight.
I beseech you pardon me, my lord, if I be mistaken; for my duty cannot be silent when I think your highness wronged.

Lear.
Thou but rememberest me of mine own conception: I have perceived a most faint neglect of late; which I have rather blamed as mine own jealous curiosity than as a very pretence and purpose of unkindness: I will look further into’t.—But where’s my fool? I have not seen him this two days.

Knight.
Since my young lady’s going into France, sir, the fool hath much pined away.

Lear.
No more of that; I have noted it well.—Go you and tell my daughter I would speak with her.—

[Exit Attendant.]

Go you, call hither my fool.

[Exit another Attendant.]

[Re-enter Oswald.]

O, you, sir, you, come you hither, sir:
who am I, sir?

Icon - Image

 

Osw.
My lady’s father.

Lear.
My lady’s father! my lord’s knave: you whoreson dog! you slave! you cur!

Osw.
I am none of these, my lord; I beseech your pardon.

Lear.
Do you bandy looks with me, you rascal?

[Striking him.]

Osw.
I’ll not be struck, my lord.

Kent.
Nor tripp’d neither, you base football player.

[Tripping up his heels.]

Lear.
I thank thee, fellow; thou servest me, and I’ll love thee.

Kent.
Come, sir, arise, away! I’ll teach you differences: away, away!
If you will measure your lubber’s length again, tarry; but away!
go to; have you wisdom? so.

[Pushes Oswald out.]

Lear.
Now, my friendly knave, I thank thee: there’s earnest of thy
service.

[Giving Kent money.]

[Enter Fool.]

Video

Fool.
Let me hire him too; here’s my coxcomb.

[Giving Kent his cap.]

Lear.
How now, my pretty knave! how dost thou?

Fool.
Sirrah, you were best take my coxcomb.

Kent.
Why, fool?

Fool.
Why, . Nay, an thou canst not smile as the wind sits, thou’lt catch cold shortly: there, take my coxcomb: why, this fellow hath banish’d two on’s daughters, and did the third a blessing against his will; if thou follow him, thou must needs wear my coxcomb.—How now, nuncle! Would I had two coxcombs and two daughters!

Lear.
Why, my boy?

Fool.
If I gave them all my living, I’d keep my coxcombs myself.
There’s mine; beg another of thy daughters.

Lear.
Take heed, sirrah,—the whip.

Fool.

Lear.
A pestilent gall to me!

Fool.
Sirrah, I’ll teach thee a speech.

Lear.
Do.

Fool.
Mark it, nuncle:—
    Have more than thou showest,
    Speak less than thou knowest,
    Lend less than thou owest,
    Ride more than thou goest,
    Learn more than thou trowest,
    Set less than thou throwest;
    Leave thy drink and thy whore,
    And keep in-a-door,
    And thou shalt have more
    Than two tens to a score.

Kent.
This is nothing, fool.

Fool.
Then ’tis like the breath of an unfee’d lawyer,—you gave me nothing for’t.—Can you make no use of nothing, nuncle?

Lear.
Why, no, boy; nothing can be made out of nothing.

Fool.
[to Kent] Pr’ythee tell him, so much the rent of his land comes to: he will not believe a fool.

Lear.
A bitter fool!

Fool.

Lear.
No, lad; teach me.

Fool.
   That lord that counsell’d thee
     To give away thy land,
   Come place him here by me,—
     Do thou for him stand:
   The sweet and bitter fool
     Will presently appear;
   The one in motley here,
     The other found out there.

Lear.

Fool.
All thy other titles thou hast given away; that thou wast born with.

Kent.
This is not altogether fool, my lord.

Fool.
No, faith; lords and great men will not let me: if I had a monopoly out, they would have part on’t and loads too: they will not let me have all the fool to myself; they’ll be snatching.—Nuncle, give me an egg, and I’ll give thee two crowns.

Lear.
What two crowns shall they be?

Fool. Video
Why, after I have cut the egg i’ the middle and eat up the meat, the two crowns of the egg. When thou clovest thy crown i’ the middle and gav’st away both parts, thou borest thine ass on thy back o’er the dirt: thou hadst little wit in thy bald crown when thou gavest thy golden one away. If I speak like myself in this, let him be whipped that first finds it so. [Singing.] Fools had ne’er less grace in a year;  And know not how their wits to wear, Their manners are so apish.

Lear.
When were you wont to be so full of songs, sirrah?

Fool.
I have used it, nuncle, e’er since thou mad’st thy daughters thy
mothers; for when thou gav’st them the rod, and puttest down
thine own breeches,Video

[Singing.]
   VideoThen they for sudden joy did weep,
     And I for sorrow sung,
   That such a king should play bo-peep
     And go the fools among.

Pr’ythee, nuncle, keep a schoolmaster that can teach thy fool to lie; I would fain learn to lie.

Lear.
An you lie, sirrah, we’ll have you whipped.

Fool.
I marvel what kin thou and thy daughters are: they’ll have me whipped for speaking true; thou’lt have me whipped for lying; and sometimes I am whipped for holding my peace. Icon - ImageI had rather be any kind o’ thing than a fool: and yet I would not be thee, nuncle: thou hast pared thy wit o’ both sides, and left nothing i’ the middle:—here comes one o’ the parings.

[Enter Goneril.]

Lear.
How now, daughter? What makes that frontlet on? Methinks you are too much of late i’ the frown.

Fool.
 Now thou art an O without a figure: I am better than thou art; I am a fool, thou art nothing.—Yes, forsooth, I will hold my tongue. So your face [To Goneril.] bids me, though you say nothing. Mum, mum, He that keeps nor crust nor crum, Weary of all, shall want some.— [Pointing to Lear.] That’s a shealed peascod.

Gon.
Not only, sir, this your all-licens’d fool,
But other of your insolent retinue
Do hourly carp and quarrel; breaking forth
In rank and not-to-be-endured riots. Sir,
I had thought, by making this well known unto you,
To have found a safe redress; but now grow fearful,
By what yourself too late have spoke and done,
That you protect this course, and put it on
By your allowance; which if you should, the fault
Would not scape censure, nor the redresses sleep,
Which, in the tender of a wholesome weal,
Might in their working do you that offence
Which else were shame, that then necessity
Will call discreet proceeding.

Fool.
For you know, nuncle,
   The hedge-sparrow fed the cuckoo so long
   That it had it head bit off by it young.
So out went the candle, and we were left darkling.

Lear.
Are you our daughter?

Gon.
Come, sir,
I would you would make use of that good wisdom,
Whereof I know you are fraught; and put away
These dispositions, that of late transform you
From what you rightly are.

Fool.
May not an ass know when the cart draws the horse?—Whoop, Jug! I love thee!

Lear.
Doth any here know me?—This is not Lear;
Doth Lear walk thus? speak thus? Where are his eyes?
Either his notion weakens, his discernings
Are lethargied.—Ha! waking? ‘Tis not so!—
Icon - ImageWho is it that can tell me who I am?

Fool.
Lear’s shadow.

Lear.
I would learn that; for, by the marks of sovereignty,
Knowledge, and reason,
I should be false persuaded I had daughters.

Fool.
Which they will make an obedient father.

Lear.
Your name, fair gentlewoman?

Gon.
This admiration, sir, is much o’ the favour
Of other your new pranks. I do beseech you
To understand my purposes aright:
As you are old and reverend, you should be wise.
Here do you keep a hundred knights and squires;
Men so disorder’d, so debosh’d, and bold
That this our court, infected with their manners,
Shows like a riotous inn: epicurism and lust
Make it more like a tavern or a brothel
Than a grac’d palace. The shame itself doth speak
For instant remedy: be, then, desir’d
By her that else will take the thing she begs
A little to disquantity your train;
And the remainder, that shall still depend,
To be such men as may besort your age,
Which know themselves, and you.

Lear.
Darkness and devils!—
Saddle my horses; call my train together.—
Degenerate bastard! I’ll not trouble thee:
Yet have I left a daughter.

Gon.
You strike my people; and your disorder’d rabble
Make servants of their betters.

[Enter Albany.]

Lear.
Woe that too late repents!—
[To Albany.] O, sir, are you come?
Is it your will? Speak, sir.—Prepare my horses.—
Ingratitude, thou marble-hearted fiend,
More hideous when thou show’st thee in a child
Than the sea-monster!

Alb.
Pray, sir, be patient.

Lear.
[to Goneril] Detested kite, thou liest!:
My train are men of choice and rarest parts,
That all particulars of duty know;
And in the most exact regard support
The worships of their name.—

Beat at this gate that let thy folly in [Striking his head.]
And thy dear judgment out!—Go, go, my people.

Alb.

Of what hath mov’d you.

Lear.
It may be so, my lord.
Hear, nature, hear; dear goddess, hear
Suspend thy purpose, if thou didst intend
To make this creature fruitful!

Dry up in her the organs of increase;
And from her derogate body never spring
A babe to honour her! If she must teem,
Create her child of spleen, that it may live
And be a thwart disnatur’d torment to her!
Let it stamp wrinkles in her brow of youth;
With cadent tears fret channels in her cheeks;
Turn all her mother’s pains and benefits
To laughter and contempt; that she may feel
How sharper than a serpent’s tooth it is
To have a thankless child!—Away, away!

[Exit.]

Alb.
Now, gods that we adore, whereof comes this?

Gon.
Never afflict yourself to know more of it;
But let his disposition have that scopeVideo


[Re-enter Lear.]

Lear.
What, fifty of my followers at a clap!
Within a fortnight!

Alb.
What’s the matter, sir?

Lear.
I’ll tell thee.—Life and death!—[To Goneril] I am asham’d
That thou hast power to shake my manhood thus;
That these hot tears, which break from me perforce,
Should make thee worth them.—Blasts and fogs upon thee!
Th’ untented woundings of a father’s curse
Pierce every sense about thee!—Old fond eyes,
Beweep this cause again, I’ll pluck you out,
And cast you, with the waters that you lose,
To temper clay. Ha!
Let it be so: I have another daughter,
Who, I am sure, is kind and comfortable:
When she shall hear this of thee, with her nails
She’ll flay thy wolvish visage. Thou shalt find
That I’ll resume the shape which thou dost think
I have cast off for ever.

[Exeunt Lear, Kent, and Attendants.]

Gon.
Do you mark that?

Alb.
I cannot be so partial, Goneril,
To the great love I bear you,—

Gon.
Pray you, content.—What, Oswald, ho!
[To the Fool] You, sir, more knave than fool, after your master.

Fool.
—take the fool with thee.—
   A fox when one has caught her,
   And such a daughter,
   Should sure to the slaughter,
   If my cap would buy a halter;
   So the fool follows after.

[Exit.]

Gon.
This man hath had good counsel.—A hundred knights!
‘Tis politic and safe to let him keep
At point a hundred knights: yes, that on every dream,
Each buzz, each fancy, each complaint, dislike,
He may enguard his dotage with their powers,
And hold our lives in mercy.—Oswald, I say!—

Alb.
Well, you may fear too far.

Gon.
Safer than trust too far:
Let me still take away the harms I fear,
Not fear still to be taken: I know his heart.
What he hath utter’d I have writ my sister:
If she sustain him and his hundred knights,
When I have show’d th’ unfitness,—

[Re-enter Oswald.]

How now, Oswald!
What, have you writ that letter to my sister?

Osw.
Ay, madam.

Gon.
Take you some company, and away to horse:
Inform her full of my particular fear;
And thereto add such reasons of your own
As may compact it more. Get you gone;
And hasten your return.

[Exit Oswald.]

No, no, my lord!
This milky gentleness and course of yours,
Though I condemn it not, yet, under pardon,
You are much more attask’d for want of wisdom
Than prais’d for harmful mildness.

Alb.
How far your eyes may pierce I cannot tell:
Striving to better, oft we mar what’s well.

Gon.
Nay then,—

Alb.
Well, well; the event.

[Exeunt.]

<a title="DC’s Group" href="http://nathanblom.com/dcs-group/#Dominika Borek" target="_blank">I find it to be very ironic that Lear banished his own daughter, but would not banish the Fool, who was clearly disrespecting him in several ways. At this point in the play, it is clear that Lear has nothing left and would even suffice to being on good terms with a person such as the fool. One of his daughter does not even want him to stay at her home, which shows Lear how big a mistake he committed in banishing the one daughter who truly loved him. At the moment when the fool disrespects him, Lear laughs simply to make a good impression on the fool. He has no one else left, and he does not want to make matters worse by being on bad terms with the fool, who is not even an important figure. It is clear that Lear does not want to make the same mistake he made when he banished his daughter by banishing the fool.</a> <p><a title="DC’s Group" href="http://nathanblom.com/dcs-group/#Dominika Borek">-Dominika Borek </a></p>
<a href="http://nathanblom.com/commentary-by-kristi/" target="_blank">As the play continues, it becomes more and more apparent that giving Lear’s kingdom to Goneril and Regan was a complete failure on his part. They clearly don&#8217;t want him to be around any longer, and are going so far as to create a confrontation. Goneril told her servants to mistreat Lear, and this is something that he is not used to as a King. It is true that Lear would probably not make the best house guest, because he is becoming old and senile. He may be going mad, but he is their father nonetheless.</a> <p><a href="http://nathanblom.com/commentary-by-kristi/" target="_blank"> Lear’s treatment by his daughters shows how wrong his choices were. He rejected Cordelia because she didn&#8217;t show him enough love, though hers was the only genuine expression. He somehow ended up giving his entire kingdom to two children who felt little affection towards him.</a><br /> <a href="http://nathanblom.com/commentary-by-kristi/" target="_blank"> In a way, the manner in which his daughters treat him is understandable. He did give them all the material things that they needed growing up, but it is clear that Cordelia was given more love. Without a mother to bestow love upon them, Goneril and Regan must have felt unappreciated. However, their father did give them all else that they needed to grow and prosper, and their treatment of Lear is ungrateful.</a></p> <p><a href="http://nathanblom.com/commentary-by-kristi/" target="_blank">&#8211; Kristi</a></p>
The Fool in King Lear seems to be the most logical and realistic character in this scene. He is not blinded by Lear&#8217;s daughters facades and he is reluctant to believe that their motives are true. The Fool exclaims &#8220;Why? For taking one&#8217;s part that&#8217;s out of favour. Nay, an thou canst not smile as the wind sits, thou&#8217;lt catch cold shortly. There, take my coxcomb! Why,this fellow has banished two on&#8217;s daughters, and did the third a blessing against his will&#8221; (1.4.96-103). The Fool is the only one who does not support Lear&#8217;s decision in banishing Cordelia and he in fact questions Lear’s actions. I find this very ironic seeming as he is the Fool and should according to his name at least be the one is least aware of what is going on before him. The Fool is the character of lowest social standing yet he is the only one who challenges Lear’s decisions. &#8211; <a title="The Three Musketeers" href="http://nathanblom.com/the-three-musketeers/#JulianaEssay">Juliana</a>
<p><a title="Purpose of the Fool" href="http://nathanblom.com/purpose-of-the-fool/#DarasEssay" target="_blank">Is the Fool a genuine character? Or does he come from Shakespeare’s need to communicate a deeper message? Essentially all of the analysis that has ever been extrapolated from King Lear has been taken from an assumption, granted an assumption backed up by textual evidence. In this essay, I attempt to use evidence from the play, as well as analysis by William Hazlitt, to prove the Fool’s different purposes in the play.</a></p> <p><a title="Purpose of the Fool" href="http://nathanblom.com/purpose-of-the-fool/#DarasEssay" target="_blank">– Dara Feldman</a></p> <p id="id00296"></p>
<p><a title="Purpose of the Fool" href="http://nathanblom.com/purpose-of-the-fool/#DaphnesEssay" target="_blank">How is it that the Fool is the least foolish cast member of the play? Lear makes the stupid mistake of giving his kingdom to daughters who don’t love him. Edgar childishly thinks he can deceive everyone around him, including his father, Edmund and both sisters. These characters stupidly end up falling for the majority of his tricks. Even Cordelia can be called foolish for thinking her father would be able to see past her sister’s exaggerated lies and see that Cordelia was the only one who truly cared for him. When the Fool warns Lear repeatedly about his mistakes, it is clear that he is wise and reasonable, and Lear’s consistent ignoring of the warnings shows his inability to see the true way that things are. Everyone in the play is a fool, and yet the one who is least foolish is the Fool.</a></p> <p><a title="Purpose of the Fool" href="http://nathanblom.com/purpose-of-the-fool/#DaphnesEssay" target="_blank">–Daphne Maeglin</a></p> <p id="id00306"><span></span></p>
<p dir="ltr"><a title="Purpose of the Fool" href="http://nathanblom.com/purpose-of-the-fool/#OrionsEssay" target="_blank">In this scene the Fool is clearly juxtaposed to King Lear. The fool manages to say very clever and wise things that point out the follies of the king. The one thing that King Lear is very sensitive about is his pride, as he looks for the flattery of his daughters in the beginning and takes offense to the criticisms of the fool.</a></p> <p><a title="Purpose of the Fool" href="http://nathanblom.com/purpose-of-the-fool/#OrionsEssay" target="_blank"> </a></p> <p dir="ltr"><a title="Purpose of the Fool" href="http://nathanblom.com/purpose-of-the-fool/#OrionsEssay" target="_blank">One thing that particularly stands out is the fool’s response to Lear’s posed question, “All thy other titles thou hast given away. That thou wast born with.” (1.4. 153-154) The fool is directly referring to how Lear gave away his title as king, the title of father for Cordelia, and the respect of his other daughters that came with these titles. The fool tries to explain to him what he has done to make him realize what is happening to him. The second part of the response pokes directly at Lear saying that he was born foolish, as if his poor decision making that day had been the result of being born senseless.</a></p> <p><a title="Purpose of the Fool" href="http://nathanblom.com/purpose-of-the-fool/#OrionsEssay" target="_blank"> </a></p> <p dir="ltr"><a title="Purpose of the Fool" href="http://nathanblom.com/purpose-of-the-fool/#OrionsEssay" target="_blank">The image here is ironic, the fool is calling the king unwise! The familiarity of the language exchanged between them suggests that they have an intimate enough relationship, yet the king still ignores the underlying message of the fool’s words and worrying about the title of fool. The king at this point has lost so much social standing and power that his daughters and most of the characters rank him now as if he were a fool; however, even the fool tells him this and he refuses to believe it. While the fool serves the audience well as an entertainment element, he fails to reach Lear beyond irritating him with the harsh truth.</a></p> <p id="id00309"><span style="color: #000000;"><a title="Purpose of the Fool" href="http://nathanblom.com/purpose-of-the-fool/#OrionsEssay" target="_blank">–Orion Doscher</a></span></p>
I was interested in the freedom that the fool had in speaking to Lear.  After the first scene in which everyone was careful to flatter the king or else risk banishment for even the most respectful disagreement, it was surprising to see a character speak so openly to the King.  It was particularly interesting that this character with such license was a fool, a man of no social worth, a theme which was so dominating in the preceding three scenes of the play.  The fool calls Lear a fool himself, going on to mock him, saying that Lear has “grown foppish” and that his “manners are so apish,” (171, 173).  He continues his insolence even in front of Goneril, calling him a “shelled peascod,” (205), forcing her to remark on the “all-licensed fool,” (206).  Shakespeare highlights the strange parallel between the fool and Cordelia when the fool remarks on how he would be “whipped for speaking true….and sometimes whipped for holding my peace,” just as Cordelia was punished for her truthfulness and silence (187-190).  I thought it was interesting that the fool has more freedom to speak to Lear than his own daughter does. &#8211; Daniel
<p><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/#AdelineEssay">The Fool is a very audacious character. Not only does he criticize Lear, &#8220;thou wast a pretty fellow when thou hadst no need to care for her frowning. Now though art an O without a figure,&#8221; but he also thinks himself higher in status than Lear, &#8220;I am better than thou art now. I am a Fool. Thou art nothing.&#8221; The Fool&#8217;s insolent and narcissistic character, therefore, leads to the questions, &#8220;then why does the Fool seem wise and Lear the Fool&#8221; and “why does Lear keep the Fool around?” These questions come forth from the irony behind the Fool&#8217;s confidence. However, another interesting question proposed to the audience is, &#8220;is the Fool acting this way to entertain the audience, to complete the definition of a Fool, a jester or is Shakespeare writing the Fool to symbolize something greater?&#8221; Through these questions, Shakespeare establishes the themes of wise vs. ignorant and truth vs. life through the introduction of the Fool.</a></p> <p>&nbsp;</p> <p><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/#AdelineEssay">-Adeline Almanzar</a></p> <p id="id00322"><span></span></p>
<p><a title="Identity in King Lear: Is man no more than this?" href="http://nathanblom.com/identity-in-king-lear-is-man-no-more-than-this/">Previously, I had come to the conclusion that Lear&#8217;s rejection of Cordelia was primarily based on his superficial and vain need to be told how much she loved him. His inability to see her love for him through her actions, and not her words, however does not last for long. A more complex side of Lear is revealed in these lines. &#8220;O most small fault, how ugly didst thou in Cordelia show, Which like an engine, wrenched my frame of nature/ From the fixed place, drew from my heart all love/ And added to the gall! O Lear, Lear, Lear!&#8221; This short monologue, although succinct, encapsulates the frustration and desperation Lear now feels as he divulges to the reader that his love for her and her love for him were commensurate with his identity as a man. As he says very eloquently, Cordelia &#8220;wrenched from his frame of nature&#8221; that which was most vital for him; his very self worth was placed, based and founded on his daughter&#8217;s love.</a></p> <p><a title="Identity in King Lear: Is man no more than this?" href="http://nathanblom.com/identity-in-king-lear-is-man-no-more-than-this/">-Gloriela Iguina- Colón</a></p> <p dir="ltr" id="docs-internal-guid-4b7c1906-046d-21c1-ee86-23dac4a9db3f"></p>
Albany’s phrase serves many purposes at once. It functions as an apology, an expression of confused frustration, a sign of encouragement to Lear, and, perhaps most fascinating, an <a title="Internal and External Worlds in King Lear" href="http://nathanblom.com/internal-and-external-worlds-in-king-lear/" target="_blank">evasion of guilt</a>. Shakespeare clearly links guiltlessness to ignorance, using “as” to complete the simile. Albany is unaware of most of the forces moving Lear&#8211;deep internal turmoil, loss of power, fragmentation of identity&#8211;so Albany is able to avoid the responsibility associated with these complex emotions. Not that Albany himself plays a great role in the onset of Lear’s problems. But if he were more cognizant of them, Shakespeare suggests, he might feel the need or responsibility to acknowledge them. Without the prerequisite knowledge, there is no guilt and therefore no internal trouble on the observer’s part. <p>Diana Mellow</p>
<a title="The Awesomes Group Essays GOLD EDITION" href="http://nathanblom.com/the-awesomes-group-essays-gold-edition/#RighteousIntent">Scene four does a heck of a lot for the audience. First, it reintroduces a character (Kent) whose plans for the king we do not know due to the possible sense of betrayal that he may feel. I am totally suspicious of everyone, unlike horror movies where people are obviously marked for death by their actions, I am hypersensitive to possible murderous plans for anyone that the characters or Shakespeare himself has in mind. We are already aware of one involving Edmund, the bastard son of Gloucester. Secondly, the audience is offered some twisted comic relief from King Lear&#8217;s fool. Though mostly childish and playful and rather relieving, there’s a sick side to him that gives off a feeling of discomfort for the audience. He acts as if King Lear is not even a king! I am worried his head will be sent to the chopping block sooner rather than later. Finally, the message is fully conveyed that the eldest sister Goneril looks deeply down upon her father and does not love him as much as she said she did in the beginning of the play. She pushes her father to tears in making him feel unwelcome in the very home the he bestowed upon her. Lear curses her in an eloquent, awesome manner, condemning her to infertility in a sick descriptive way that I wish I could use against my own enemies. “Into her womb convey sterility. Dry up in her organs of increase, and from her derogate body never spring a babe to honor her” (WOW). He departs and in his wake leaves a sense of blind rage, lashing about in a vortex of confusion and skewed visions as a result of pride and senility.</a> <p><a title="The Awesomes Group Essays GOLD EDITION" href="http://nathanblom.com/the-awesomes-group-essays-gold-edition/#RighteousIntent">-Leo Didkovsky</a></p> <p><span style="color: #000000;"></span></p>
<a title="The Edmund Fanclub" href="http://nathanblom.com/the-edmund-fanclub/#MadoniaEssay" target="_blank">This first act of the play tells us a lot about the characters in King Lear. The opening scene with Kent, Gloucester and Edmund gives readers the first glimpse into what drives Edmund in the play, as well as insight into Gloucester’s flawed character. The scene with Lear and his daughters does the same, reveals Regan and Goneril’s greed, Cordelia’s integrity as well as the King’s mental instability. These traits revealed in the play’s beginning only intensify over time: Goneril and Regan get more thirsty for power, to the point where their initial alliance falls apart, Cordelia reveals herself to be even more kind hearted when she forgives her father for all of his wrong doings and Lear just gets crazier until he died. The only character who has any sort of change is Edmund, who in his final moments expresses remorse for his misdeeds. This makes him the only sympathetic “villan” in the play.</a> -Sophia Madonia
<p dir="ltr">The so-called &#8220;fool” is the wisest, most insightful character in Act 1, Scene 4 and perhaps throughout all of King Lear.  The Fool provides the audience with comedic interjections and witty song, but he also reveals essential characteristics about King Lear and his kingdom. In one instance, the Fool presents King Lear with his opinions about Goneril&#8217;s disposition and King Lear&#8217;s inheritance quandary.  The Fool states, &#8220;Nuncle Lear…Take the fool with thee. A fox, when one has caught her,/And such a daughter,/ Should sure to the slaughter,/ If my cap would buy a halter:/ So the fool follows after,&#8221; (1.4.335-339).  The Fool describes Goneril as conniving and fox-like here, a comment that would otherwise cause King Lear to become enraged.</p> <p>&nbsp;</p> <p dir="ltr">Lear neither disregards nor chides the Fool for his opinion of Goneril, showing that the Fool and Lear share a bond. This bond is also demonstrated when the Fool refers to Lear as &#8220;nuncle&#8221;, which is a term of endearment.  King Lear, by accepting the Fool&#8217;s insulting comments about Goneril, displays that Lear understands that the Fool speaks some truth.  Although Lear acknowledges the Fool&#8217;s guidance, he does not head it; showing that corruption and status surpass truth and loyalty in Lear’s crumbling kingdom.</p> <p dir="ltr">&#8211;<a title="The Three Musketeers" href="http://nathanblom.com/the-three-musketeers/#GlorianaEssay">Gloriana Macagnone</a></p> <p><span style="color: #000000;"></span></p>