Act 2, scene 4

Scene IV. Before Gloster’s Castle; Kent in the stocks.

[Enter Lear, Fool, and Gentleman.]

Lear.
‘Tis strange that they should so depart from home,
And not send back my messenger.

Gent.
As I learn’d,
The night before there was no purpose in them
Of this remove.

Kent.
Hail to thee, noble master!

Lear.
Ha!
Mak’st thou this shame thy pastime?

Kent.
No, my lord.

Fool.
Ha, ha! he wears cruel garters. Horses are tied by the head; dogs and bears by the neck, monkeys by the loins, and men by the legs: when a man is over-lusty at legs, then he wears wooden nether-stocks.

Lear.
What’s he that hath so much thy place mistook
To set thee here?

Kent.
It is both he and she,
Your son and daughter.

Lear.
No.

Kent.
Yes.

Lear.
No, I say.

Kent.
I say, yea.

Lear.
No, no; they would not.

Kent.
Yes, they have.

Lear.
By Jupiter, I swear no.

Kent.

Lear.
They durst not do’t.
They would not, could not do’t; ’tis worse than murder,
To do upon respect such violent outrage:
Resolve me, with all modest haste, which way
Thou mightst deserve or they impose this usage,
Coming from us.

Kent.
My lord, when at their home
I did commend your highness’ letters to them,
Ere I was risen from the place that show’d
My duty kneeling, came there a reeking post,
Stew’d in his haste, half breathless, panting forth
From Goneril his mistress salutations;
Deliver’d letters, spite of intermission,
Which presently they read: on whose contents,
They summon’d up their meiny, straight took horse;
Commanded me to follow and attend
The leisure of their answer; gave me cold looks:
And meeting here the other messenger,
Whose welcome I perceiv’d had poison’d mine,—
Being the very fellow which of late
Display’d so saucily against your highness,—
Having more man than wit about me, drew:
He rais’d the house with loud and coward cries.
Your son and daughter found this trespass worth
The shame which here it suffers.

Fool.

Fathers that wear rags
Do make their children blind;
But fathers that bear bags
Shall see their children kind.
Fortune, that arrant whore,
Ne’er turns the key to th’ poor.
But for all this, thou shalt have as many dolours for thy
daughters as thou canst tell in a year.

Lear.
O, how this mother swells up toward my heart!
Hysterica passio,—down, thou climbing sorrow,
Thy element’s below!—Where is this daughter?
Video

Kent.
With the earl, sir, here within.

Lear.
Follow me not;
Stay here.

[Exit.]

Gent.
Made you no more offence but what you speak of?

Kent.
None. How chance the king comes with so small a number?

Fool.
An thou hadst been set i’ the stocks for that question, thou hadst well deserved it.

Kent.
Why, fool?

Fool.
We’ll set thee to school to an ant, to teach thee there’s no labouring in the winter. All that follow their noses are led by their eyes but blind men; and Let go thy hold when a great wheel runs down a hill, lest it break thy neck with following it; but the great one that goes up the hill, let him draw thee after. When a wise man gives thee better counsel, give me mine again: I would have none but knaves follow it, since a fool gives it. That sir which serves and seeks for gain, And follows but for form, Will pack when it begins to rain, And leave thee in the storm. But I will tarry; the fool will stay, And let the wise man fly: The knave turns fool that runs away; The fool no knave, perdy.

Kent.
Where learn’d you this, fool?

Fool.
Not i’ the stocks, fool.

[Re-enter Lear, with Gloster.]

Lear.
Deny to speak with me? They are sick? they are weary?
They have travell’d all the night? Mere fetches;
The images of revolt and flying off.
Fetch me a better answer.

Glou.
My dear lord,
You know the fiery quality of the duke;
How unremovable and fix’d he is
In his own course.

Lear.
Vengeance! plague! death! confusion!—
Fiery? What quality? why, Gloster, Gloster,
I’d speak with the Duke of Cornwall and his wife.

Glou.
Well, my good lord, I have inform’d them so.

Lear.
Inform’d them! Dost thou understand me, man?

Glou.
Ay, my good lord.

Lear.
The King would speak with Cornwall; the dear father
Would with his daughter speak, commands her service:
Are they inform’d of this?—My breath and blood!—
Fiery? the fiery duke?—Tell the hot duke that—
No, but not yet: may be he is not well:
Infirmity doth still neglect all office
Whereto our health is bound: we are not ourselves:
I’ll forbear;
And am fallen out with my more headier will,
To take the indispos’d and sickly fit
For the sound man.—Death on my state! Wherefore
[Looking on Kent.]
Should he sit here? This act persuades me
That this remotion of the duke and her
Is practice only. Give me my servant forth.
Go tell the duke and’s wife I’d speak with them,
Now, presently: bid them come forth and hear me,
Or at their chamber door I’ll beat the drum
Till it cry ‘Sleep to death.’

Glou.
I would have all well betwixt you.

[Exit.]

Lear.
O me, my heart, my rising heart!—but down!

Fool.
Cry to it, nuncle, as the cockney did to the eels when she put ’em i’ the paste alive; she knapped ’em o’ the coxcombs with a stick and cried ‘Down, wantons, down!’ ‘Twas her brother that, in pure kindness to his horse, buttered his hay.Video

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

Lear.
Good-morrow to you both.

Corn.
Hail to your grace!

[Kent is set at liberty.]

Reg.
I am glad to see your highness.

Lear.
Regan, I think you are; I know what reason
I have to think so: if thou shouldst not be glad,
I would divorce me from thy mother’s tomb,
Sepulchring an adultress.—[To Kent] O, are you free?
Some other time for that.—Beloved Regan,
Thy sister’s naught: O Regan, she hath tied
Sharp-tooth’d unkindness, like a vulture, here,—
[Points to his heart.]
I can scarce speak to thee; thou’lt not believe
With how deprav’d a quality—O Regan!

Reg.
I pray you, sir, take patience: I have hope
You less know how to value her desert
Than she to scant her duty.

Lear.
Say, how is that?

Reg.
I cannot think my sister in the least
Would fail her obligation: if, sir, perchance
She have restrain’d the riots of your followers,
‘Tis on such ground, and to such wholesome end,
As clears her from all blame.

Lear.
My curses on her!

Reg.
O, sir, you are old;
Nature in you stands on the very verge
Of her confine: you should be rul’d and led
By some discretion, that discerns your state
Better than you yourself. Therefore, I pray you,
That to our sister you do make return;
Say you have wrong’d her, sir.

Lear.
Icon - ImageAsk her forgiveness?
Do you but mark how this becomes the house:
‘Dear daughter, I confess that I am old;
[Kneeling.]
Age is unnecessary: on my knees I beg
Icon - ImageThat you’ll vouchsafe me raiment, bed, and food.’

Reg.
Good sir, no more! These are unsightly tricks:
Return you to my sister.

Lear.
[Rising.] Never, Regan:
She hath abated me of half my train;
Icon - ImageLook’d black upon me; struck me with her tongue,
Most serpent-like, upon the very heart:—
All the stor’d vengeances of heaven fall
On her ingrateful top! Strike her young bones,
You taking airs, with lameness!

Corn.
Fie, sir, fie!

Lear.
You nimble lightnings, dart your blinding flames
Into her scornful eyes! Infect her beauty,
You fen-suck’d fogs, drawn by the powerful sun,
To fall and blast her pride!

Reg.
O the blest gods!
So will you wish on me when the rash mood is on.

Lear.

Thy tender-hefted nature shall not give
Thee o’er to harshness: her eyes are fierce; but thine
Do comfort, and not burn. ‘Tis not in thee
To grudge my pleasures, to cut off my train,
To bandy hasty words, to scant my sizes,
And, in conclusion, to oppose the bolt
Against my coming in: thou better know’st
The offices of nature, bond of childhood,
Effects of courtesy, dues of gratitude;
Thy half o’ the kingdom hast thou not forgot,
Wherein I thee endow’d.

Reg.
Good sir, to the purpose.

Lear.
Who put my man i’ the stocks?

[Tucket within.]

Corn.
What trumpet’s that?

Reg.
I know’t—my sister’s: this approves her letter,
That she would soon be here.

[Enter Oswald.]

Is your lady come?

Lear.
This is a slave, whose easy-borrowed pride
Dwells in the fickle grace of her he follows.—
Out, varlet, from my sight!

Corn.
What means your grace?

Lear.
Who stock’d my servant? Regan, I have good hope
Thou didst not know on’t.—Who comes here? O heavens!

[Enter Goneril.]

If you do love old men, if your sweet sway
Allow obedience, if yourselves are old,
Make it your cause; send down, and take my part!—
[To Goneril.] Art not asham’d to look upon this beard?—
O Regan, wilt thou take her by the hand?

Gon.

Lear.
O sides, you are too tough!
Will you yet hold?—How came my man i’ the stocks?

Corn.
I set him there, sir: but his own disorders
Deserv’d much less advancement.

Lear.
You? did you?

Reg.
I pray you, father, being weak, seem so.
If, till the expiration of your month,
You will return and sojourn with my sister,
Dismissing half your train, come then to me:
I am now from home, and out of that provision
Which shall be needful for your entertainment.

Lear.
Return to her, and fifty men dismiss’d?
No, rather I abjure all roofs, and choose
To wage against the enmity o’ the air;
To be a comrade with the wolf and owl,—
Necessity’s sharp pinch!—Return with her?
Why, the hot-blooded France, that dowerless took
Our youngest born, I could as well be brought
To knee his throne, and, squire-like, pension beg
To keep base life afoot.—Return with her?
Persuade me rather to be slave and sumpter
To this detested groom.
[Pointing to Oswald.]

Gon.
At your choice, sir.

Lear.
I pr’ythee, daughter, do not make me mad:
I will not trouble thee, my child; farewell:
We’ll no more meet, no more see one another:—
But yet thou art my flesh, my blood, my daughter;
Or rather a disease that’s in my flesh,
Which I must needs call mine: thou art a boil,
A plague sore, an embossed carbuncle
In my corrupted blood. But I’ll not chide thee;
Let shame come when it will, I do not call it:
I do not bid the thunder-bearer shoot
Nor tell tales of thee to high-judging Jove:
Mend when thou canst; be better at thy leisure:
I can be patient; I can stay with Regan,
I and my hundred knights.

Reg.
Not altogether so:
I look’d not for you yet, nor am provided
For your fit welcome. Give ear, sir, to my sister;
For those that mingle reason with your passion
Must be content to think you old, and so—
But she knows what she does.

Lear.
Is this well spoken?

Reg.
I dare avouch it, sir: what, fifty followers?
Is it not well? What should you need of more?
Yea, or so many, sith that both charge and danger
Speak ‘gainst so great a number? How in one house
Should many people, under two commands,
Hold amity? ‘Tis hard; almost impossible.

Gon.
Why might not you, my lord, receive attendance
From those that she calls servants, or from mine?

Reg.
Why not, my lord? If then they chanc’d to slack you,
We could control them. If you will come to me,—
For now I spy a danger,—I entreat you
To bring but five-and-twenty: to no more
Will I give place or notice.

Lear.
I gave you all,—

Video

Reg.
And in good time you gave it.

Lear.
Made you my guardians, my depositaries;
But kept a reservation to be follow’d
With such a number. What, must I come to you
With five-and-twenty, Regan? said you so?

Reg.
And speak’t again my lord; no more with me.

Lear.
Those wicked creatures yet do look well-favour’d
When others are more wicked; not being the worst
Stands in some rank of praise.—
[To Goneril.]

Gon.
Hear, me, my lord:
What need you five-and-twenty, ten, or five,
To follow in a house where twice so many
Have a command to tend you?

Reg.
What need one?

Lear.
O, reason not the need: our basest beggars
Are in the poorest thing superfluous:
Allow not nature more than nature needs,
Man’s life is cheap as beast’s: thou art a lady;
If only to go warm were gorgeous,
Why, nature needs not what thou gorgeous wear’st
Which scarcely keeps thee warm.—But, for true need,—
You heavens, give me that patience, patience I need!
You see me here, you gods, a poor old man,
As full of grief as age; wretched in both!


Stain my man’s cheeks!—No, you unnatural hags,
I will have such revenges on you both
That all the world shall,—I will do such things,—
What they are yet, I know not; but they shall be
The terrors of the earth.
I have full cause of weeping; but this heart
Shall break into a hundred thousand flaws                                                                                                    

Video

[Exeunt Lear, Gloster, Kent, and Fool. Storm heard at a distance.]

Corn.
Let us withdraw; ’twill be a storm.

Reg.
This house is little: the old man and his people
Cannot be well bestow’d.

Gon.
‘Tis his own blame; hath put himself from rest
And must needs taste his folly.

Reg.
For his particular, I’ll receive him gladly,
But not one follower.

Gon.
So am I purpos’d.
Where is my lord of Gloster?

Corn.
Followed the old man forth:—he is return’d.

[Re-enter Gloster.]

Glou.
The king is in high rage.

Corn.
Whither is he going?

Glou.
He calls to horse; but will I know not whither.

Corn.
‘Tis best to give him way; he leads himself.

Gon.
My lord, entreat him by no means to stay.

Glou.
Alack, the night comes on, and the high winds
Do sorely ruffle; for many miles about
There’s scarce a bush.

Reg.
O, sir, to wilful men
The injuries that they themselves procure
Must be their schoolmasters. Shut up your doors:
He is attended with a desperate train;
And what they may incense him to, being apt
To have his ear abus’d, wisdom bids fear.

Corn.

My Regan counsels well: come out o’ the storm.

Video

Video[Exeunt.]

 

<p>In Act 2 Scene 4, Lear visits Gloucester&#8217;s castle and finds Kent stocked. He asks who did this to him and Kent replies that it was Regan and Cornwall&#8217;s doing. Lear absolutely cannot believe it and they have a short exchange of just saying &#8216;yes&#8217; and &#8216;no&#8217;. Lear says, &#8220;By Jupiter, I swear no.&#8221; Kent responds, &#8220;By Juno, I swear ay.&#8221; Jupiter is the king of the Roman gods and Juno is his wife. On the adjacent page, they explain that Juno usually is not in agreement with Jupiter. I like the juxtaposition Shakespeare uses to depict Lear&#8217;s disbelief. Usually, a trivial argument occurs between people with close relationships, such as one between lovers or siblings. Similarly, we can infer from the situation that Lear and Kent must have some sort of an attached connection with each other.</p> <p>-Jodi Siu</p> <p id="id00556"></p>
<p dir="ltr" style="text-align: center;"><a title="Shakespeare’s Mockery of the Nobility Essays" href="http://nathanblom.com/shakespeares-mockery-of-the-nobility-essays-katiasamisabellejosephkatherine/#SamZagnitEssay">Commentary on II.iv.54-94</a></p> <p dir="ltr" style="text-align: center;"><a title="Shakespeare’s Mockery of the Nobility Essays" href="http://nathanblom.com/shakespeares-mockery-of-the-nobility-essays-katiasamisabellejosephkatherine/#SamZagnitEssay" target="_blank">by Sam Zagnit</a></p> <p dir="ltr"><a title="Shakespeare’s Mockery of the Nobility Essays" href="http://nathanblom.com/shakespeares-mockery-of-the-nobility-essays-katiasamisabellejosephkatherine/#SamZagnitEssay" target="_blank">It is quite ironic that the Court Fool is the wisest character in the entire play. Unlike anyone else, he clearly sees the underlying themes that surface throughout the play. For example, In II.iv.54-58, the Fool recites a wise remark in verse about the injustices of the class system. In this respect, Shakespeare himself seems to speak through the jester. He is also able to see what lies ahead. On line 60, he foreshadows the imminent downfall, and makes a comparison to a large wheel rolling down a hill. He remarks that if Kent were to hold on to this wheel, he would surely break his neck. This prediction, of course, turns out to be true.</a></p> <p dir="ltr"><a title="Shakespeare’s Mockery of the Nobility Essays" href="http://nathanblom.com/shakespeares-mockery-of-the-nobility-essays-katiasamisabellejosephkatherine/#SamZagnitEssay" target="_blank">The Fool also sheds light on the theme of disrespect and betrayal. He makes another comparison to a storm, saying that a superficially loving person would leave one in the storm, and similarly Lear&#8217;s daughters have left in the storm with nothing. The Fool is the only one who &#8220;sees the light,&#8221; and is able to be the voice of reason.</a></p>
Illusion<br /> There’s a house on a hill where Poe’s “Nevermore” lives<br /> There’s an old man and his owl<br /> The most diabolical souls living together,<br /> Spying on every living thing,<br /> Looking down on the joys of life<br /> His best friend feeds on the weak and lingers on the hearts of the poor.<br /> The only time they’re satisfied is when there’s famine.<br /> So, to you I say:<br /> The storm comes when you least expect it<br /> Weave your baskets quickly<br /> Under a blanket of hope comes the illusion of the future<br /> Don’t be quick to look up at that hill<br /> It is but the illusion of darkness<br /> Sure, the rain stops in the eye of the storm,<br /> But do not be quick to assume it is the owl’s doing<br /> Keep your mind sane<br /> You control the illusions you believe<br /> By: Jolene Cobb <p>Commentary:<br /> Throughout King Lear, the theme of appearance versus reality is present both in the way Lear thinks about his daughters and in the way he thinks of himself. In analyzing the extent to which he is the true “fool” of the play. The fool states, “All that follow their noses are led by their eyes but blind men, and there’s not a nose among twenty but can smell him that’s stinking. Let go thy hold when a great wheel runs down a hill lest it break thy neck with following; but the great one that goes upward, let him draw thee after. When a wise man gives thee better counsel, give me mine again. I would have none but knaves follow it, since a fool gives it(II.iv.60-68).” Here, the fool speaks about illusion. He implies that people tend to base their actions on how reality appears &#8211; hence the diminishing support for an old, dying king. The real fool then, is King Lear, for being blinded by the illusion of what reality is and for relying on the illusion of his power &#8211; or lack thereof.</p>
 <a title="Angered Euro Twerp" href="http://nathanblom.com/angered-euro-twerp/#diblasiessay" target="_blank"><span style="font-family: 'Times New Roman';">Shakespeare clearly drives the plot of the play with this single line.  This is one of the various moments in the play in which the natural order has been disturbed.  It significantly foreshadows the rest of the scene as well as the fatal turmoil of King Lear.  Shakespeare cleverly utilized the words &#8220;oppress&#8217;d&#8221; and &#8220;commands” in order to characterize and anticipate Goneril and Reagan&#8217;s actions.  Their father, the former King, had already gave them most of his kingdom and power, however they sought to eliminate whatever superiority he had left. Lear is ordered to dismiss his army of one hundred men.  This command is unnatural to the former King, for he is not used to taking orders because he is usually giving them.<span>  </span>He then realizes the nefarious nature of his two daughters, which has provoked his mental turbulence and distress.  Removing Lear from his natural habitat left him full of anguish and therefore he could not possibly maintain his sanity.</span></a> <p class="MsoNormal"><span style="font-family: 'Times New Roman';"><a title="Angered Euro Twerp" href="http://nathanblom.com/angered-euro-twerp/diblasiessay" target="_blank"> -Tommaso Di Blasi</a><br /> </span></p> <p id="id00578"></p>
<p dir="ltr"><a title="Lear’s Sanity and Power (or Lack Thereof) and its Importance to the Play" href="http://nathanblom.com/lears-sanity-or-lack-thereof-and-its-importance-to-the-play/#AbbysEssay">At the beginning of the play, Lear is seen as a bad guy because of his harsh treatment toward Cordelia in the land dispute. But as the play progresses, many people change their opinion of him from “cruel” to “insane.” In this conversation with Regan, Lear seems to recognize how rude he has been to his comrades and family, and though he shows no willingness to change, this could be a moment of lucidity for the character. Regan still puts him in the stocks, which inclines us to think Lear may have just wanted false sympathy, but he nonetheless jars the reader with this unexpected recognition of character. From here on out, Lear could quite possibly be viewed as a protagonist with good intentions.</a></p> <p><a title="Lear’s Sanity and Power (or Lack Thereof) and its Importance to the Play" href="http://nathanblom.com/lears-sanity-or-lack-thereof-and-its-importance-to-the-play/#AbbysEssay"> </a></p> <p dir="ltr"><a title="Lear’s Sanity and Power (or Lack Thereof) and its Importance to the Play" href="http://nathanblom.com/lears-sanity-or-lack-thereof-and-its-importance-to-the-play/#AbbysEssay">Abigail Hedrick</a></p>
<p dir="ltr"><a title=";)" href="http://nathanblom.com/how-do-lears-actions-affect-the-course-of-the-play/#zoe_noel">When I first started reading King Lear I assumed that Goneril was a vile woman out to bring down her poor father. In Act 1, Scene 3 I believed that Goneril spoke to her servant Oswald about her hatred towards her father, and was conspiring against him when she said, “By day and night he wrongs me. Every hour/He flashes into one grows crime or other/That sets us all at odds… His knights grow riotous, and himself upbraids us/ On every trifle”. However after reading Act One, Scene Four my opinion of Goneril changed. I saw her as a daughter trying to the best of her ability to cope with having a father who was losing his wits. After rereading Scene Three with my newly found point of view, it was obvious to me that Goneril was only expressing that her father and his knights were out of control to the point where it was affecting the not only the reputation of her father, but also of her own home. Still out of love and respect for her father Goneril decides that that matter would be better left alone than to be confronted, she tells her Oswald to inform the King that she is not able to see him because she isn’t feeling well.</a></p> <p dir="ltr"><a title=";)" href="http://nathanblom.com/how-do-lears-actions-affect-the-course-of-the-play/#zoe_noel">-Zoe-Noel P. Byers</a></p>
 <a title="Angered Euro Twerp" href="http://nathanblom.com/angered-euro-twerp/#kleinmanessay" target="_blank">King Lear is a tragedy meaning tragic things occur from the actions of the somewhat deranged characters of the play and their dilemmas. However again and again I find my interests leading me past these actions and on to their origins, the origins of human nature. Why do these characters perform the malicious acts as they do? They strive for success by exploiting the insecurities of their family members, for their own gain. This “gain” may be both tangible and intangible, and example of this is Lear’s imposing need for materialistic gain, which destroys his relationships with his daughters. Materialism, power struggle, sounds familiar? I believe much of the action in the play is rooted in basic human intentions.</a> <p id="id00630"> </p><p><a title="Angered Euro Twerp" href="http://nathanblom.com/angered-euro-twerp/#kleinmanessay" target="_blank">-Claire Kleinman</a></p>
<p><a title="Deception" href="http://nathanblom.com/edmunds-deception/#MendezsEssay" target="_blank">In Act 2 Scene 4, Lear discovers that both Goneril and Regan have betrayed him. Regan sending Kent to the stock is a sign of disrespect to the King, since Kent is his servant. Also, both daughters demanded that Lear get rid of half or more of his knights. Kent and the knights seem to be the only things that Lear has left to represent his authority. Although he now realizes how evil his daughters are, Lear cannot seem to fathom the reality of the situation.  In denial of his daughters&#8217; deception and his loss of power, Lear is left in anger and grief to call out to nature, and curse his daughters. He calls out, “You see me here, you gods, a poor old man as full of grief as age, wretched in both. If it be you that stirs these daughters’ hearts against their father, fool me not so much to bear it tamely.”(2.4. 314-318). He is now blaming his daughters’ actions on the gods, stating that his daughters’ change in behavior is unnatural. Lear may believe that all of his misfortunes have been a cause of nature, but in truth, it is not only his own fault, but it is the unfortunate outcome of wealth and power.Lear’s high status has made him blind to all of the deception that took place, including Kent’s disguise. Since both Goneril and Regan consistently refer to him as old and senile, he began to believe their words ad soon reached a pointwhere he can no longer handle the truth of this whole predicament. He cries as he reaches insanity, “O Fool, I shall go mad!” (2.4. 328).  Yet after all of this, I am starting to believe that it is not so much his age that has caused him his psychological breakdown, but his arrogance. With everything not running by his command he seems lost. In addition, to go into the open air and be captured by the storm may be hisway of being consumed by his madness. The definition of storm is to move angrily or forcefully in a specified direction. Not only does nature take an angry and forceful course, but Lear also does in his overwhelmed state.</a></p> <p dir="ltr"><a title="Deception" href="http://nathanblom.com/edmunds-deception/#MendezsEssay">Gloria Mendez</a>.</p>
<p>                                    Commentary</p> <p>By Megan Mccmormick</p> <p>&nbsp;</p> <p>In Act 2, Scene 4, Lear requests that he stay in the home of either Regan and Gonerril. The sisters, who are growing weary of their fathers irrational and impetuous actions, tell him he can only stay with them if he removes half of his knights. Unwilling to compromise the only power he has left, Lear refuses to get rid of any of his knights; he would rather bear the coming storm than succumb that way. He is appalled that his own children would treat him in such a way, to make him give up his knights and leave him out in the storm. In his anger, Lear turns to the divine, saying “If it be you [gods] that stirs these daughter’s hearts against their father, fool me not so much to bear it tamely” (II, iv, 271-273) Much like Gloucester, Lear does not want to believe that his own precious children would intentionally deceive and hurt him. He would rather blame a higher being for not only the wrongdoings of his own children, but his own as well.</p> <p></p>
<p><a title="DC’s Group" href="http://nathanblom.com/dcs-group/#DC Burney">The storm that takes place later on in the play seems to represent the chaos and confusion inside of King Lear&#8217;s mind. The storm first appears in Scene 2 act 4 during Lear&#8217;s long speech regarding Regan and Goneril&#8217;s betrayal of him. The storm begins as King Lear&#8217;s feeling of anger and confusion heighten, right after he exclaims &#8220;You think I&#8217;ll weep. No I&#8217;ll not weep!&#8221; (277-278). In the next scene he taunts the storm showing the transition of these emotions into complete madness. In the beginning of the play, King Lear is simply senile, but once the storm comes into play it seems that his overwhelming emotions drive him to insanity. -DC Burney</a></p> <p></p>
<a title="The Awesomes Group Essays GOLD EDITION" href="http://nathanblom.com/the-awesomes-group-essays-gold-edition/#RadhikaEssay">Act 2 scene 4 is a pretty brutal turn of events for Lear.  His authority and power is constantly undermined in the scene and he is treated with great cruelty. When he arrives, he sees his servant Kent locked up in the stocks.  Kent informs Lear that his daughter Regan put him there which is not the warm welcome that Lear had in mind. Lear refuses to believe that his daughter could do this, &#8220;They could not, would not do&#8217;t.  &#8216;Tis worse than murder&#8221; (II. iv. 26).  Lear&#8217;s disbelief makes this even more painful. By putting Kent in the stocks, Regan openly disrespected her father and his authority.  This entire scene is a demonstration of Regan&#8217;s disloyalty. When Lear asks to speak to his daughter, Regan simply refuses. This is yet again another moment when Regan takes away Lear&#8217;s power in this scene.  When she eventually comes out to see him, Regan, declines to let Lear stay with her, which is why she visited Gloucester&#8217;s estate in the first place after learning her father had wishes to live with her.  Even though, Lear tells Regan about the horrible ways Goneril treated him, Regan tells Lear to ask Goneril for forgiveness and say that he has &#8220;wronged her&#8221; (II. iv. 171).  Lear literally begs on his knees for a place to stay and Regan shows no sympathy toward him. Did these girls really not love their father at all? I don&#8217;t know, this entire scene is just frustrating. Regan is just so sassy to Lear during this scene, and it&#8217;s not the cute kind of sass either. Also, Goneril enters this scene and teams up with Regan against their father.  They call him weak and old.  They also demand that Lear let go of most of his servants and knights.  Lear&#8217;s knight and servants are the only power he has left. They’re the only people he can command.  By taking away his servants, Regan and Goneril will take away any remaining power. He becomes so angry that he just leaves outside.  There is a huge storm, but Regan and Goneril have no cares to give about their father. I don&#8217;t think I&#8217;ve ever really sympathized with Lear until this scene.  Lear gave up all his power to Regan and Goneril, but got nothing in return. -Radhika Kashyap</a>
<p><a title="Nature in King Lear" href="http://nathanblom.com/nature-in-king-lear/#SiderisEssay" target="_blank">Humans and the Natural World in <em>King Lear</em></a></p> <p dir="ltr">Notice the references made to weather and celestial arrangements throughout the play  to show that the gods are not happy with the events that transpire on Earth or that something bad is about to happen. In act 2 scene 4, a wild storm is brewing, and Regan and Goneril order that their doors are shut with their father locked outside. Lear is cast out from the civilized world to wander around the wilderness and storm. The weather, as well as the letter that Kent receives earlier from Cordelia, portend some sort of war or conflict. They not only reflect Lear’s inner turmoil but mock the divisions in the kingdom as well. The universe is clearly not happy with Regan and Goneril&#8217;s disloyalty. The fact that Lear is left out in the storm suggests that he is going to meet his fate soon, or perhaps that he is going to discover some truth about the universe that exists outside of the human realm. What is Shakespeare trying to suggest about humans here? What is the relationship between human civilization and the natural world? How much power to humans really have?</p> <p>-Paulina Sideris</p> <p></p>