Act 3, scene 2

Scene II. Another part of the heath. Storm continues.

[Enter Lear and Fool.]

Icon - Image

Lear.

VideoVideo Video
Till you have drench’d our steeples, drown’d the cocks!
You sulphurous and thought-executing fires,
Vaunt couriers to oak-cleaving thunderbolts, Icon - Image
Singe my white head! And thou, all-shaking thunder,Video
Strike flat the thick rotundity o’ the world!
Crack nature’s moulds, all germens spill at once,
That make ingrateful man!

Fool.
O nuncle, court holy water in a dry house is better than this rain water out o’ door. Good nuncle, in; and ask thy daughters blessing: here’s a night pities nether wise men nor fools.
Video
Lear.


I tax not you, you elements, with unkindness;
Video I never gave you kingdom, call’d you children;
You owe me no subscription: then let fall
Your horrible pleasure; here I stand, your slave,
A poor, infirm, weak, and despis’d old man:—
But yet I call you servile ministers,
That will with two pernicious daughters join
Your high-engender’d battles ‘gainst a head
So old and white as this! O! O! ’tis foul!Video

Fool.
He that has a house to put ‘s head in has A good head-piece.
The codpiece that will house Before the head has any, The head and he shall louse: So beggars marry many. The man that makes his toe What he his heart should make Shall of a corn cry woe, And turn his sleep to wake. —for there was never yet fair woman but she made mouths in a glass.

Lear.
Icon - ImageI will say nothing.

[Enter Kent.]

Kent.
Who’s there?

Fool.
Marry, here’s grace and a codpiece; that’s a wise man and a fool.

Kent.
Alas, sir, are you here? Things that love night
Love not such nights as these; the wrathful skies Icon - Image
Gallow the very wanderers of the dark,
And make them keep their caves; since I was man,
Such sheets of fire, such bursts of horrid thunder,
Such groans of roaring wind and rain I never
Remember to have heard: man’s nature cannot carry
Th’ affliction nor the fear.

Lear.
Let the great gods,
That keep this dreadful pother o’er our heads,
Find out their enemies now. Tremble, thou wretch,
That hast within thee undivulged crimes
Unwhipp’d of justice: hide thee, thou bloody hand;
Thou perjur’d, and thou simular man of virtue
That art incestuous: caitiff, to pieces shake
That under covert and convenient seeming
Hast practis’d on man’s life: close pent-up guilts,
Rive your concealing continents, and cry
Icon - ImageThese dreadful summoners grace.—I am a man
More sinn’d against than sinning.

Kent.
Alack, bareheaded! Gracious my lord, hard by here is a hovel;
Some friendship will it lend you ‘gainst the tempest:
Repose you there, whilst I to this hard house,—
More harder than the stones whereof ’tis rais’d;
Which even but now, demanding after you,
Denied me to come in,—return, and force
Their scanted courtesy.

Lear.
Icon - Image

Video–Come on, my boy. How dost, my boy? art cold?
I am cold myself.—
The art of our necessities is strange,
That can make vile things precious. Come, your hovel.—
Poor fool and knave, I have one part in my heart
That’s sorry yet for thee.

Fool.
[Singing.] He that has and a little tiny wit—
With hey, ho, the wind and the rain,—
Must make content with his fortunes fit,
For the rain it raineth every day.

Lear.
True, boy.—Come, bring us to this hovel.

[Exeunt Lear and Kent.]

Fool.
This is a brave night to cool a courtezan.—
I’ll speak a prophecy ere I go:—
When priests are more in word than matter;
When brewers mar their malt with water;
When nobles are their tailors’ tutors;
No heretics burn’d, but wenches’ suitors;
When every case in law is right;
No squire in debt nor no poor knight;
When slanders do not live in tongues;
Nor cutpurses come not to throngs;
When usurers tell their gold i’ the field;
And bawds and whores do churches build;—
Then shall the realm of Albion
Come to great confusion: Then comes the time, who lives to see’t,
That going shall be us’d with feet. This prophecy Merlin shall make; for I live before his time.

[Exit.]

 

<p>&nbsp;</p> <p><a href="http://nathanblom.com/angered-euro-twerp/#doyleessay">Lear is now out in a storm with only his fool. Things are unravelling for him both in his current situation and his mental state. While outside, he is talking to himself and raving of his children’s “filial ingratitude!”</a> (3.2, 16). <a href="http://nathanblom.com/angered-euro-twerp/#doyleessay">The storm is a manifestation of Lear’s madness, but also of the earth-shattering events happening around him. His world has turned upside down and the tempest is mirroring his mood. Meanwhile, Edmund&#8217;s plan is slowly taking shape and he is succeeding in discrediting his brother and framing his father for treachery. In these parallel stories, the fathers are trusting the wrong children. Lear is trusting his two daughters who actually end up hurting him the most and Gloucester is trusting the son who is planning on having him killed.</a></p> <p><a href="http://nathanblom.com/angered-euro-twerp/#doyleessay">-Emma Doyle</a> <span style="background-color: transparent; font-family: Arial; font-size: 15px; line-height: 1.15;"></span></p>
Jacqueline Muallem <p><em><span style="text-decoration: underline;"><strong>The Storm</strong></span></em> attempted to capture the storm in Shakespeare’s King Lear. As the storm is a symbol of the madness seizing Lear’s mind, I wanted to show how merciless and powerful both were. The running man represents Lear as prey to madness. The houses and cattle, again, show the effect both the storm and a mad king would have on the kingdom itself. Shakespeare does not go into detail at all about the effects the events of the play have on the people; nor should it as Lear is an examination of nobility versus monarchy and their consequent struggle for power. Still, I wanted to at least envision the effects for myself.</p> <p><em><span style="text-decoration: underline;"><strong>The Storm</strong></span></em><br /> As the leaves of the<br /> Tallest trees<br /> Quiver,<br /> All hold their<br /> Breath.<br /> She comes<br /> Spiraling in,<br /> Basking in the fear that<br /> Greets her.</p> <p>She dances, her hair of<br /> Rain streaming behind her,<br /> Her cloak of<br /> Mist, risingfallingrisingfallingrisingfalling<br /> In time.<br /> The wind rushes<br /> From her fingertips<br /> And her aura<br /> Screams<br /> Danger.<br /> She sings,<br /> Loudly,<br /> Powerfully,<br /> Hauntingly,<br /> Her voice ubiquitous as<br /> It resonates<br /> Everywhere.</p> <p>She glides through the<br /> World, searching,<br /> Searching,<br /> Wrecking havoc everywhere she<br /> Turns.</p> <p>With a single push, she<br /> Knocks down the tallest,<br /> Most powerful of trees.<br /> They fall, destroying all they land<br /> Upon.</p> <p>She spots a man, darting across<br /> The forest,<br /> Rushing to get to him home,<br /> His safe<br /> Haven<br /> From her powerful<br /> Wrath and<br /> Charges towards it.<br /> She flings him across<br /> The forest,<br /> Instantly killing him.<br /> She laughs as the crimson blood<br /> Rushes from his<br /> Body.<br /> And she goes on,<br /> Searching,<br /> Searching,<br /> Searching.</p> <p>Lights<br /> Shut off.<br /> The world<br /> Is still,<br /> Praying<br /> Praying<br /> Praying<br /> For the storm to be<br /> Over.</p> <p>She morphs<br /> Roads into<br /> Oceans.<br /> And the water thrashes,<br /> Crashing into<br /> Homes,<br /> Carrying away<br /> Cattle.</p> <p>She obliterates houses,<br /> Crashing her fists through them one<br /> By one.<br /> Roofs collapse,<br /> Walls crumble,<br /> And humans become homeless<br /> In a blink<br /> Of an<br /> Eye.</p> <p>She is all powerful,<br /> Destroying all we know in<br /> Seconds.<br /> No one can stop her<br /> And we wait,<br /> Wait, hiding under our blankets,<br /> Until it’s<br /> Over.<br /> </p>
<a title="Nature in King Lear" href="http://nathanblom.com/nature-in-king-lear/#SaylorEssay" target="_blank">External Powers Over Internal Conflicts</a> The prolonged and repeated presence of the storm throughout act 3 has struck me. The storm is not just a stage direction, but it is the basis for Lear&#8217;s angry words. The metaphors of the soliloquy humanize the storm, which the King addresses as though it lives and breathes.  &#8220;Blow, winds, and crack your cheeks! rage! blow! / You cataracts and hurricanoes, spout / Till you have drench&#8217;d our steeples, drown&#8217;d the cocks! / You sulphurous and thought-executing fires, / Vaunt-couriers to oak-cleaving thunderbolts, / Singe my white head!&#8221; (III.ii.1-6). I was also struck by Lear&#8217;s demanding the storm to rage on, while he&#8217;s out in the rain, vulnerable and helpless and alone. I realized, though, that sometimes when we&#8217;re angry, we just decide to take in the terrible situation, because it fuels the rage we think we have a right to experience. Most of us have a connotation with the storm in literature as a kind of bad omen, so perhaps it represents Lear&#8217;s deteriorating and raging mind? Or the conflict and confusion he feels as a result of being rejected by his daughters whom he thought loved him more than life itself? Lear reminds us of his source of anger when he compares his rebellious daughters to the storm. &#8220;Rumble thy bellyful! Spit, fire! spout, rain! / Nor rain, wind, thunder, fire, are my daughters: / I tax not you, you elements, with unkindness; / I never gave you kingdom, call&#8217;d you children, / You owe me no subscription: then let fall / Your horrible pleasure: here I stand, your slave, / A poor, infirm, weak, and despised old man&#8221; (III.ii.16-22).  He actually favors the storm over his daughters because he was supportive of his daughters, and they repaid him with unfaithfulness, while Lear and the storm never had such an exchange. -Lydia Saylor <p id="id00670"></p>
<a title="DC’s Group" href="http://nathanblom.com/dcs-group/#Emily Burch">In Act II Scene IV the weather begins to become violent as Lear&#8217;s mind is filled with hate and feelings of abandonment due to his daughter&#8217;s behavior. Then In Act III Scene II, Lear begins to exhibit intense feelings of revenge as the storm grows and grows. This is the point within the text Lear loses his sanity. Shakespeare communicates this with his readers through Lear&#8217;s rhetorical questions that he suddenly answers. He also answers this with specific syntax. For example, Lear states “Rumble thy bellyful! Spit fire! Spout, rain! Nor rain, wind, thunder, fire are my daughters” (Shakespeare 3.2.16-17). The increasing intensity of the descriptive nouns of storm become ever increasingly passionate: From rain to wind and from thunder to fire. Just as this is occurring outside his daughter’s castles, it is also erupting in Lear’s thoughts. It&#8217;s very arguable that the storm is really Lear&#8217;s mind. Lear can barely grip onto reality just as he can&#8217;t keep his balance as the violent storm rages through. Also, during Act III scene VII, Cornwall gouges Gloucester’s eyes out for being of aid to Lear. I automatically connected that to Oedipus; however, as I read this event, it felt like this was much more bloody and graphic. -Emily Burch</a> .
This significant chapter is where Lear first begins to realize the magnitude of his mistake. Many elements of this scene point out the cruel, selfish nature of Goneril. The nerve that she has to so blatantly disrespect Lear and disregard his anger really amazes me. She simply did not care when he even went so far as to wish her to be childless. Even her husband was surprised at her evil. It&#8217;s sad to see an old man, so used to power, being thrown around and told that he can no longer have what he wants. Kent&#8217;s dedication to Lear was also interesting to me. I don&#8217;t quite understand why he follows Lear so loyally. Also, the fool&#8217;s immunity to Lear&#8217;s anger and wrath really establishes their relationship for the rest of the play. How is it that Lear is so willing to blow up at Kent, Goneril, Cordelia, and others, yet let the fool escape his anger? It shows the desperation of Lear and how he almost looks up to the fool because he believes the fool to be wise and hopes the fool can help him fix his life. -David Thomas.
<p><a href="http://nathanblom.com/differences-by-jordan-ava-nathaniel-and-brandon/#JordanEssay">What we wanted to focus on as a group with this creative commentary was how the Fool<br /> </a><a href="http://nathanblom.com/differences-by-jordan-ava-nathaniel-and-brandon/#JordanEssay">seemingly is Lear himself. We start off with an excerpt from Act 3 Scene 2 at line 41. At this<br /> </a><a href="http://nathanblom.com/differences-by-jordan-ava-nathaniel-and-brandon/#JordanEssay">point in the play Kent encounters Lear and the Fool. However, even though the Fool directly<br /> </a><a href="http://nathanblom.com/differences-by-jordan-ava-nathaniel-and-brandon/#JordanEssay">answers and talks to Kent, Kent never acknowledges the Fool’s presence and only addresses<br /> </a><a href="http://nathanblom.com/differences-by-jordan-ava-nathaniel-and-brandon/#JordanEssay">Lear instead. This made us think that perhaps Lear’s fool never actually existed, but rather was a<br /> </a><a href="http://nathanblom.com/differences-by-jordan-ava-nathaniel-and-brandon/#JordanEssay">figment of Lear’s imagination. We then decided to bypass the Fool’s departure from the play and<br /> </a><a href="http://nathanblom.com/differences-by-jordan-ava-nathaniel-and-brandon/#JordanEssay">go straight into Lear’s monologue. We started off the monologue with the Fool speaking as<br /> </a><a href="http://nathanblom.com/differences-by-jordan-ava-nathaniel-and-brandon/#JordanEssay">Lear’s shadow (another reference to Lear and the Fool being the same) because it symbolizes<br /> </a><a href="http://nathanblom.com/differences-by-jordan-ava-nathaniel-and-brandon/#JordanEssay">how the Fool really is the embodiment of Lear’s inner insanity. The transferring of the coxcomb<br /> </a><a href="http://nathanblom.com/differences-by-jordan-ava-nathaniel-and-brandon/#JordanEssay">and the take over by Lear represent the King’s true descent into madness and foolishness.<br /> </a><a href="http://nathanblom.com/differences-by-jordan-ava-nathaniel-and-brandon/#JordanEssay">We decided to do this as our creative commentary because we noted that Lear<br /> </a><a href="http://nathanblom.com/differences-by-jordan-ava-nathaniel-and-brandon/#JordanEssay">seemingly falls into complete insanity after the Fool leaves the play. We think that the Fool’s exit<br /> </a><a href="http://nathanblom.com/differences-by-jordan-ava-nathaniel-and-brandon/#JordanEssay">was Shakespeare’s way of telling the audience that Lear really is the Fool, both literally and<br /> </a><a href="http://nathanblom.com/differences-by-jordan-ava-nathaniel-and-brandon/#JordanEssay">figuratively.<br /> </a><a href="http://nathanblom.com/differences-by-jordan-ava-nathaniel-and-brandon/#JordanEssay">Is the Fool really a human character? Or is he just a figment of Lear’s imagination that<br /> </a><a href="http://nathanblom.com/differences-by-jordan-ava-nathaniel-and-brandon/#JordanEssay">aided in his insanity? Who is the real Fool in King Lear?</a> <span style="line-height: 1.5em;"></span></p>
<p>Jordan Feiner, Individual King Lear Project Explanation</p> <p>My individual project consists of one of King Lear’s speeches, but many variations of</p> <p>Lear himself within that speech. All of the art used in the clip was photographed by me</p> <p>and is from the National Gallery of Ireland.</p> <p>First Image: [John Adams-Acton sculpture of Charles James Patrick Mahon] the first</p> <p>Lear is the representation of the kingly and strong Lear, it represents the only time in</p> <p>the monologue that Lear is actually fighting the storm, it also is a representation of Lear</p> <p>clinging to the last legs of his sanity.</p> <p>Second Image: [Sculpture of A Greek Philosopher or Author] this version of Lear is more</p> <p>of the elderly, worn down, and cracking Lear, this is the time where he really begins</p> <p>to age and slowly fall into madness. He is more melancholy and weary, and his air of</p> <p>royalty begins to slip away.</p> <p>Third Image: [Oliver Sheppard sculpture of George W. Russell] this third Lear is the</p> <p>more pensive and scheming Lear, this is the point where King Lear is more of a thinker</p> <p>than a doer, but instead of being a thinker of sane and coherent thoughts, Lear’s sanity is</p> <p>almost completely stripped away which leads to the drastic change of the fourth image.</p> <p>Fourth Image: [Jusepe Ribera painting of N.Onuphrius] This version of Lear is the final,</p> <p>broken, beaten and fully insane Lear. When Lear states how his “wits begin to turn”</p> <p>(Shakespeare 3.2. 73) I interpreted that as Lear fully losing his sanity, and old self (hence</p> <p>the change from sculpture to painting). This Lear is frail, begging and merely a shadow</p> <p>of his former, more regal and royal self.</p> <p>Adams-Acton, John. Charles James Patrick Mahon. 1877. Terracotta. National</p> <p>Gallery of Ireland, Dublin.</p> <p>Antique (Roman). A Greek Philosopher or Author (the so-called Portrait of</p> <p>Seneca). 4 B.C.-65 A.D. Marble. National Gallery of Ireland, Dublin.</p> <p>Sheppard, Oliver. George W. Russell. 1867-1935. Marble. National Gallery of</p> <p>Ireland, Dublin.</p> <p>Ribera, Jusepe. N.Onuphrius. 1635. Oil on Canvas. National Gallery of Ireland,</p> <p>Dublin </p>