Act 2, scene 2

Scene II. Before Gloster’s Castle.

[Enter Kent and Oswald, severally.]

Osw.
Good dawning to thee, friend: art of this house?

Kent.
Ay.

Osw.
Where may we set our horses?

Kent.
I’ the mire.

Osw.
Pr’ythee, if thou lov’st me, tell me.

Kent.
I love thee not.

Osw.
Why then, I care not for thee.

Kent.
If I had thee in Lipsbury pinfold, I would make thee care for me.

Osw.
Why dost thou use me thus? I know thee not.

Kent.
Fellow, I know thee.

Osw.
What dost thou know me for?

Kent.
A knave; a rascal; an eater of broken meats; a base, proud, shallow, beggarly, three-suited, hundred-pound, filthy, worsted-stocking knave; a lily-livered, action-taking, whoreson, glass-gazing, superserviceable, finical rogue; one-trunk-inheriting slave; one that wouldst be a bawd in way of good service, and art nothing but the composition of a knave, beggar, coward, pander, and the son and heir of a mongrel bitch: one whom I will beat into clamorous whining, if thou denyest the least syllable of thy addition.

Osw.
Why, what a monstrous fellow art thou, thus to rail on one that’s neither known of thee nor knows thee?

Kent.
What a brazen-faced varlet art thou, to deny thou knowest me! Is it two days ago since I beat thee and tripped up thy heels before the king? Draw, you rogue: for, though it be night, yet the moon shines; I’ll make a sop o’ the moonshine of you: draw, you whoreson cullionly barbermonger, draw!

[Drawing his sword.]

Osw.
Away! I have nothing to do with thee.

Kent.
Draw, you rascal: you come with letters against the king; and take vanity the puppet’s part against the royalty of her father: draw, you rogue, or I’ll so carbonado your shanks:— draw, you rascal; come your ways!

Osw.
Help, ho! murder! help!

Kent.
Strike, you slave; stand, rogue, stand; you neat slave, strike!

[Beating him.]

Osw.
Help, ho! murder! murder!

[Enter Edmund, Cornwall, Regan, Gloster, and Servants.]

Edm.
How now! What’s the matter?

Kent.
With you, goodman boy, an you please: come, I’ll flesh you; come on, young master.

Glou.
Weapons! arms! What’s the matter here?

Corn.
Keep peace, upon your lives;
He dies that strikes again. What is the matter?

Reg.
The messengers from our sister and the king.

Corn.
What is your difference? speak.

Osw.
I am scarce in breath, my lord.

Kent.
No marvel, you have so bestirr’d your valour. You cowardly rascal, nature disclaims in thee; a tailor made thee.

Corn.
Thou art a strange fellow: a tailor make a man?

Kent.
Ay, a tailor, sir: a stonecutter or a painter could not have made him so ill, though he had been but two hours at the trade.

Corn.
Speak yet, how grew your quarrel?

Osw.
This ancient ruffian, sir, whose life I have spared at suit of
his grey
beard,—

Kent.
Thou whoreson zed! thou unnecessary letter!—My lord, if you’ll give me leave, I will tread this unbolted villain into mortar and daub the walls of a jakes with him.—Spare my grey beard, you wagtail?

Corn.
Peace, sirrah!
You beastly knave, know you no reverence?

Kent.
Yes, sir; but anger hath a privilege.

Corn.
Why art thou angry?

Kent.
That such a slave as this should wear a sword,
Who wears no honesty. Such smiling rogues as these,
Like rats, oft bite the holy cords a-twain
Which are too intrinse t’ unloose; smooth every passion
That in the natures of their lords rebel;
Bring oil to fire, snow to their colder moods;
Renege, affirm, and turn their halcyon beaks
With every gale and vary of their masters,
Knowing naught, like dogs, but following.—
A plague upon your epileptic visage!
Smile you my speeches, as I were a fool?
Goose, an I had you upon Sarum plain,
I’d drive ye cackling home to Camelot.

Corn.
What, art thou mad, old fellow?

Glou.
How fell you out?
Say that.

Kent.
No contraries hold more antipathy
Than I and such a knave.

Corn.
Why dost thou call him knave? What is his fault?

Kent.
His countenance likes me not.

Corn.
No more perchance does mine, or his, or hers.

Kent.
Sir, ’tis my occupation to be plain:
I have seen better faces in my time
Than stands on any shoulder that I see
Before me at this instant.

Corn.
This is some fellow
Who, having been prais’d for bluntness, doth affect
A saucy roughness, and constrains the garb
Quite from his nature: he cannot flatter, he,—

An they will take it, so; if not, he’s plain.
These kind of knaves I know which in this plainness
Harbour more craft and more corrupter ends
Than twenty silly-ducking observants
That stretch their duties nicely.

Kent.
Sir, in good faith, in sincere verity,
Under the allowance of your great aspect,
Whose influence, like the wreath of radiant fire
On flickering Phoebus’ front,—

Corn.
What mean’st by this?

Kent.
To go out of my dialect, which you discommend so much. I know, sir, I am no flatterer: he that beguiled you in a plain accent was a plain knave; which, for my part, I will not be, though I should win your displeasure to entreat me to’t.

Corn.
What was the offence you gave him?

Osw.
I never gave him any:
It pleas’d the king his master very late
To strike at me, upon his misconstruction;
When he, compact, and flattering his displeasure,
Tripp’d me behind; being down, insulted, rail’d
And put upon him such a deal of man,
That worthied him, got praises of the king
For him attempting who was self-subdu’d;
And, in the fleshment of this dread exploit,
Drew on me here again.

Kent.
None of these rogues and cowards
But Ajax is their fool.

Corn.
Fetch forth the stocks!—
You stubborn ancient knave, you reverent braggart,
We’ll teach you,—

Kent.
Sir, I am too old to learn:

Corn.
Fetch forth the stocks!—As I have life and honour, there shall he sit till noon.

Reg.
Till noon! Till night, my lord; and all night too!

Kent.
Why, madam, if I were your father’s dog,
You should not use me so.

Reg.
Sir, being his knave, I will.

Corn.
This is a fellow of the self-same colour
Our sister speaks of.—Come, bring away the stocks!

[Stocks brought out.]

Glou.
Let me beseech your grace not to do so:
His fault is much, and the good king his master
Will check him for’t: your purpos’d low correction
Is such as basest and contemned’st wretches
For pilferings and most common trespasses,
Are punish’d with: the king must take it ill
That he, so slightly valu’d in his messenger,
Should have him thus restrain’d.

Corn.
I’ll answer that.

Reg.
My sister may receive it much more worse,
To have her gentleman abus’d, assaulted,
For following her affairs.—Put in his legs.—

[Kent is put in the stocks.]

Come, my good lord, away.

[Exeunt all but Gloster and Kent.]

Glou.
I am sorry for thee, friend; ’tis the duke’s pleasure,
Whose disposition, all the world well knows,
Will not be rubb’d nor stopp’d; I’ll entreat for thee.

Kent.
Pray do not, sir: I have watch’d, and travell’d hard;
Some time I shall sleep out, the rest I’ll whistle.
A good man’s fortune may grow out at heels:
Give you good morrow!

Glou.
The duke’s to blame in this: ’twill be ill taken.

[Exit.]

Kent.
Good king, that must approve the common saw,—
Thou out of heaven’s benediction com’st
To the warm sun!
Approach, thou beacon to this under globe,
That by thy comfortable beams I may
Peruse this letter.—Nothing almost sees miracles
But misery:—I know ’tis from Cordelia,
Who hath most fortunately been inform’d
Of my obscured course; and shall find time
From this enormous state,—seeking to give
Losses their remedies,—All weary and o’erwatch’d,
Take vantage, heavy eyes, not to behold
This shameful lodging.
Fortune, good night: smile once more, turn thy wheel!

[He sleeps.]

<a title="Analysis of Themes in King Lear" href="http://nathanblom.com/analysis-of-themes-in-king-lear/#Testa_Essay" target="_blank">During the quarrel between Kent and Oswald, Kent yet again highlights his innate sense of honesty, a quality which has now caused him trouble for the second time. He speaks with utmost veracity and eventually ends up in the stocks after insulting several members of the aristocracy. Yet, since Kent seems to be without censorship, he provides great insight into the truth of the play and the characters within it. One of the best examples of this is when Cornwall questions Kent’s anger toward Oswald. Kent replies, “That such a slave as this should wear a sword,/who wears no honesty”(2.2.73). It is clear that Kent highly values veracity, often eliciting punishment for his own candidness. However, his claim highlights an even greater presence of dishonesty within the play. According to Kent’s view, those with the greatest power should theoretically have the strongest moral compass. However, the reader has already witnessed the exile of both Cordelia and Kent for merely divulging their honest opinions. Furthermore, Edmund, Goneril, and Regan seem to thrive with each lie they tell. Lying, in both Lear’s and modern society, seems intrinsically linked to politics, and it is a fact accepted by most everyone with the exception of Kent. Rather, Kent’s “occupation is to be plain”(2.2.97), and he is nothing if not thorough in his execution of this duty. His honest observations serve as a lens through which the aristocratic society of the time could be viewed. Kent highlights the lack of morals in the world of the play, and his observations are underscored by the increasingly tragic nature of the play. Thus, Shakespeare seems to assert that an individual’s morals are useless within a society far more concerned with illusion than honesty.</a><br /> &#8211; Victoria Testa
<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/#SophiaEssay" target="_blank">Act II is where Lear&#8217;s decline truly becomes tangible. We see in Act I that he is lied to, mocked, and taken advantage of, and we see Goneril making demands of him that he is unwilling to meet, but Lear still possesses some modicum of power. He willingly apportions his lands to his daughters, and willingly, albeit angrily, leaves Goneril&#8217;s home. In Act II, however, example after example of how Lear has fallen is fleshed out. First, we notice how Kent is disrespected in Act II, Scene II. Kent represents Lear, and as a royal messenger should be treated with respect.</a></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/#SophiaEssay" target="_blank">However, Kent is nonetheless put in the stocks, meaning that showing &#8220;small respect&#8221; and &#8220;malice&#8221; to Lear was amenable to Regan and Cornwall.</a></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/#SophiaEssay" target="_blank">Regan and Cornwall also refuse to receive Lear when he comes to them.  They will only come out after much prodding, revealing disrespect for Lear, which they never would have shown before receiving their inheritances. Lear also discovers that Regan left her home as soon as she heard that her father was to come to her. Once Lear finally manages to coax Regan and her husband from their chambers, they refuse to host him, claiming they lack the space. Goneril arrives, and Regan and Goneril haggle with Lear continuously so that he will lower the size of his train; Goneril had already asked for fifty in Act I, and Regan counters this with 25. The sisters work their way down to no attendants at all, and Lear leaves in disgrace, finding to home open to him and a storm brewing. The Fool also reveals that Lear&#8217;s train has abandoned him, as all can sense his decline and do not wish to be dragged down along side he who was once king.</a></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/#SophiaEssay" target="_blank">It may be Lear&#8217;s realization of how far he has fallen that provides the catalyst for his famous insanity, and the shock of going from the privileged and powerful life of a king to the powerless and homeless life he now embarks upon.</a></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/#SophiaEssay" target="_blank">-Sophia Feist</a></p> <p id="id00516"></p>