Scene III. The open Country.
[Enter Edgar]
I heard myself proclaim’d;
And by the happy hollow of a tree
Escap’d the hunt. No port is free; no place
That guard and most unusual vigilance
Does not attend my taking. While I may scape,
I will preserve myself: and am bethought
To take the basest and most poorest shape
That ever penury, in contempt of man,
Blanket my loins; elf all my hair in knots;
And with presented nakedness outface
The winds and persecutions of the sky.
The country gives me proof and precedent
Of Bedlam beggars, who, with roaring voices,
Strike in their numb’d and mortified bare arms
Pins, wooden pricks, nails, sprigs of rosemary;
And with this horrible object, from low farms,
Poor pelting villages, sheep-cotes, and mills,
Sometime with lunatic bans, sometime with prayers,
Enforce their charity.—
[Exit.]
<a href="http://nathanblom.com/internal-and-external-worlds-in-king-lear/#eliavessay" target="_blank">In Act II Scene III, Edgar, though part of nobility, has been forced into hiding. He disguises himself as “Poor Tom”, a beggar that has been released from an asylum. Edgar’s adoption of this disguise serves as proof of society’s negative view “spciety’s_negative_view” toward the poor and ill. Furthermore, as Edgar formulates his new identity he states that “face I’ll grime with filth”</a> (2.3.8). <a href="http://nathanblom.com/internal-and-external-worlds-in-king-lear/#eliavessay" target="_blank">This is ironic, as Edgar is of high status but chooses to adopt an appearance of dirtiness. He diverts from expected idealism and perfection, showing outwardly his feeling of panic. Instances of uncomposed behavior are surprising when displayed by nobility. Edgar’s personal expression of insanity may be an attempt at rebellion. A life within the confines of high expectation and nobility could have affected Edgar’s sense of self. The transformation into “poor Tom”, may represent Edgar’s confusion regarding his identity. In addition, his solitude at this point sets the mark for the beginning of journey toward personal discovery.</a>
<p><a href="http://nathanblom.com/internal-and-external-worlds-in-king-lear/#eliavessay" target="_blank">Sara Eliav</a> </p>
<p><a title="Kimberly Barrios Creative Commentary" href="http://nathanblom.com/wp-content/uploads/2014/02/Kimberly-King-Lear.mp3" target="_blank">Continue to Kimberly Barrios’ Music</a></p>
<p>This music recording I created corresponds to my essay topic, disguise in <i>King Lear</i>. It begins with sounds imitating a storm, which starts in act 3 scene 1. Then it transitions from a somewhat happy tone to a more turbid sound. It ends with a resolved timbre. It represents the character Edgar, who is disguised as “Poor Tom”. The sounds and dissonant chords representing the storm also represent Edgar’s inner conflict and confusion about being betrayed by his brother. When the succession of chords becomes faster, this represents when Edgar decides to take on his Poor Tom disguise.</p>
<p>-Kimberly Barrios</p>
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<p><a title="Nature in King Lear" href="http://nathanblom.com/nature-in-king-lear/#BarriosEssay" target="_blank">The Meaning of Disguise in <em>King Lear</em></a></p>
<p>Many of the characters in King Lear are in “disguise”. Kent and Edgar are the most obvious, going from being themselves to being “Caius” and “Tom”. I believe that if Cordelia, from the very start would have done the same, she probably would have had a second chance somehow. At the end of the play, Edgar prevails. Cordelia does not. I find that both Edgar and Cordelia are the same, just as Edmund, Goneril and Regan are alike.</p>
<p>-Kimberly Barrios</p>
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In King Lear by William Shakespeare there is a strong parallel relationship between Lear and the Fool. It really plays along with the theme of “not being what you appear to be”. This is a very common theme in Shakespearean plays. For example, Lucentio<br />
and Hortensio in The Taming of the Shrew. Both of them dress up as tutors in order to court Bianca. Similarly Rosalind in As You Like It dresses up as a man in order to travel safely. Viola in 12th Night also pretends to be a man because she thinks it will be safer. Even Iago in Othello makes himself appear to be a loyal soldier. Edgar in Shakespeare’s King Lear fits into this pattern when he dresses up as a beggar in order to stay out of trouble. This is shown when Edgar says, “’Poor Tom!’ That’s something yet. Edgar I nothing am” (Act 2, Scene 3, 20-21.) But to be honest I disagree with Reed’s statement about Kent being the Villain. I mean maybe I’m just not that smart, but I think it’s too early to tell what Kent’s motives really are. – Jarrett Jung.