Scene III. The British Camp near Dover.
[Enter, in conquest, with drum and colours, Edmund; Lear and
Cordelia prisoners; Officers, Soldiers, &c.]
Edm.
Some officers take them away: good guard
Until their greater pleasures first be known
That are to censure them.
Cor.
We are not the first
Who with best meaning have incurr’d the worst.
For thee, oppressed king, am I cast down;
Myself could else out-frown false fortune’s frown.—
Shall we not see these daughters and these sisters?
Lear.
No, no, no, no! Come, let’s away to prison:
We two alone will sing like birds i’ the cage:
When thou dost ask me blessing I’ll kneel down
And ask of thee forgiveness: so we’ll live,
And pray, and sing, and tell old tales, and laugh
At gilded butterflies, and hear poor rogues
Talk of court news; and we’ll talk with them too,—
Who loses and who wins; who’s in, who’s out;—
And take upon’s the mystery of things,
As if we were God’s spies: and we’ll wear out,
In a wall’d prison, packs and sects of great ones
That ebb and flow by the moon.
Edm.
Take them away.
Lear.
Upon such sacrifices, my Cordelia,
He that parts us shall bring a brand from heaven
And fire us hence like foxes. Wipe thine eyes;
The goodyears shall devour them, flesh and fell,
Ere they shall make us weep: we’ll see ’em starve first.
Come.
[Exeunt Lear and Cordelia, guarded.]
Edm.
Come hither, captain; hark.
Take thou this note [giving a paper]; go follow them to prison:
One step I have advanc’d thee; if thou dost
As this instructs thee, thou dost make thy way
To noble fortunes: know thou this,—that men
Are as the time is: to be tender-minded
Does not become a sword:—thy great employment
Will not bear question; either say thou’lt do’t,
Or thrive by other means.
Capt.
I’ll do’t, my lord.
Edm.
About it; and write happy when thou hast done.
Mark,—I say, instantly; and carry it so
As I have set it down.
Capt.
I cannot draw a cart, nor eat dried oats;
If it be man’s work, I’ll do’t.
[Exit.]
[Flourish. Enter Albany, Goneril, Regan, Officers, and
Attendants.]
Alb.
Sir, you have show’d to-day your valiant strain,
And fortune led you well: you have the captives
Who were the opposites of this day’s strife:
We do require them of you, so to use them
As we shall find their merits and our safety
May equally determine.
Edm.
Sir, I thought it fit
To send the old and miserable king
To some retention and appointed guard;
Whose age has charms in it, whose title more,
To pluck the common bosom on his side,
And turn our impress’d lances in our eyes
Which do command them. With him I sent the queen;
My reason all the same; and they are ready
To-morrow, or at further space, to appear
Where you shall hold your session. At this time
We sweat and bleed: the friend hath lost his friend;
And the best quarrels, in the heat, are curs’d
By those that feel their sharpness:—
The question of Cordelia and her father
Requires a fitter place.
Alb.
Sir, by your patience,
I hold you but a subject of this war,
Not as a brother.
Reg.
That’s as we list to grace him.
Methinks our pleasure might have been demanded
Ere you had spoke so far. He led our powers;
Bore the commission of my place and person;
The which immediacy may well stand up
And call itself your brother.
Gon.
Not so hot:
In his own grace he doth exalt himself,
More than in your addition.
Reg.
In my rights
By me invested, he compeers the best.
Gon.
That were the most if he should husband you.
Reg.
Jesters do oft prove prophets.
Gon.
Holla, holla!
That eye that told you so look’d but asquint.
Reg.
Lady, I am not well; else I should answer
From a full-flowing stomach.—General,
Take thou my soldiers, prisoners, patrimony;
Dispose of them, of me; the walls are thine:
Witness the world that I create thee here
My lord and master.
Gon.
Mean you to enjoy him?
Alb.
The let-alone lies not in your good will.
Edm.
Nor in thine, lord.
Alb.
Half-blooded fellow, yes.
Reg.
[To Edmund.] Let the drum strike, and prove my title thine.
Alb.
Stay yet; hear reason.—Edmund, I arrest thee
On capital treason; and, in thine arrest,
This gilded serpent [pointing to Goneril.],—For your claim, fair
sister,
I bar it in the interest of my wife;
‘Tis she is subcontracted to this lord,
And I, her husband, contradict your bans.
If you will marry, make your loves to me,—
My lady is bespoke.
Gon.
An interlude!
Alb.
Thou art arm’d, Gloster:—let the trumpet sound:
If none appear to prove upon thy person
Thy heinous, manifest, and many treasons,
There is my pledge [throwing down a glove]; I’ll prove it on thy
heart,
Ere I taste bread, thou art in nothing less
Than I have here proclaim’d thee.
Reg.
Sick, O, sick!
Gon.
[Aside.] If not, I’ll ne’er trust medicine.
Edm.
There’s my exchange [throwing down a glove]: what in the world he is
That names me traitor, villain-like he lies:
Call by thy trumpet: he that dares approach,
On him, on you, who not? I will maintain
My truth and honour firmly.
Alb.
A herald, ho!
Edm.
A herald, ho, a herald!
Alb.
Trust to thy single virtue; for thy soldiers,
All levied in my name, have in my name
Took their discharge.
Reg.
My sickness grows upon me.
Alb.
She is not well. Convey her to my tent.
[Exit Regan, led.]
[Enter a Herald.]
Come hither, herald.—Let the trumpet sound,—
And read out this.
Officer.
Sound, trumpet!
[A trumpet sounds.]
Her.
[Reads.] ‘If any man of quality or degree within the lists of the army will maintain upon Edmund, supposed Earl of Gloster, that he is a manifold traitor, let him appear by the third sound of the trumpet. He is bold in his defence.’
Edm.
Sound!
[First trumpet.]
Her.
Again!
[Second trumpet.]
Her.
Again!
[Third trumpet. Trumpet answers within. Enter Edgar, armed, preceded by a trumpet.]
Alb.
Ask him his purposes, why he appears
Upon this call o’ the trumpet.
Her.
What are you?
Your name, your quality? and why you answer
This present summons?
Edg.
Know, my name is lost;
By treason’s tooth bare-gnawn and canker-bit.
Yet am I noble as the adversary
I come to cope.
Alb.
Which is that adversary?
Edg.
What’s he that speaks for Edmund Earl of Gloster?
Edm.
Himself:—what say’st thou to him?
Edg.
Draw thy sword,
That, if my speech offend a noble heart,
Thy arm may do thee justice: here is mine.
Behold, it is the privilege of mine honours,
My oath, and my profession: I protest,—
Maugre thy strength, youth, place, and eminence,
Despite thy victor sword and fire-new fortune,
Thy valour and thy heart,—thou art a traitor;
False to thy gods, thy brother, and thy father;
Conspirant ‘gainst this high illustrious prince;
And, from the extremest upward of thy head
To the descent and dust beneath thy foot,
A most toad-spotted traitor. Say thou ‘No,’
This sword, this arm, and my best spirits are bent
To prove upon thy heart, whereto I speak,
Thou liest.
Edm.
In wisdom I should ask thy name;
But since thy outside looks so fair and warlike,
And that thy tongue some say of breeding breathes,
What safe and nicely I might well delay
By rule of knighthood, I disdain and spurn:
Back do I toss those treasons to thy head;
With the hell-hated lie o’erwhelm thy heart;
Which,—for they yet glance by and scarcely bruise,—
This sword of mine shall give them instant way,
Where they shall rest for ever.—Trumpets, speak!
[Alarums. They fight. Edmund falls.]
Alb.
Save him, save him!
Gon.
This is mere practice, Gloster:
By the law of arms thou wast not bound to answer
An unknown opposite; thou art not vanquish’d,
But cozen’d and beguil’d.
Alb.
Shut your mouth, dame,
Or with this paper shall I stop it:—Hold, sir;
Thou worse than any name, read thine own evil:—
No tearing, lady; I perceive you know it.
[Gives the letter to Edmund.]
Gon.
Say if I do,—the laws are mine, not thine:
Who can arraign me for’t?
Alb.
Most monstrous!
Know’st thou this paper?
Gon.
Ask me not what I know.
[Exit.]
Alb.
Go after her: she’s desperate; govern her.
[To an Officer, who goes out.]
Edm.
And more, much more; the time will bring it out:
‘Tis past, and so am I.—But what art thou
That hast this fortune on me?
Edg.
Let’s exchange charity.
I am no less in blood than thou art, Edmund;
If more, the more thou hast wrong’d me.
My name is Edgar, and thy father’s son.
, and of our pleasant vices
Make instruments to plague us:
The dark and vicious place where thee he got
Cost him his eyes.
Edm.
Thou hast spoken right; ; I am here.
Alb.
Methought thy very gait did prophesy
A royal nobleness:—I must embrace thee:
Let sorrow split my heart if ever I
Did hate thee or thy father!
Edg.
Worthy prince, I know’t.
Alb.
Where have you hid yourself?
How have you known the miseries of your father?
Edg.
By nursing them, my lord.—List a brief tale;—
And when ’tis told, O that my heart would burst!—
The bloody proclamation to escape,
That follow’d me so near,—O, our lives’ sweetness!
That with the pain of death we’d hourly die
Rather than die at once!)—taught me to shift
Into a madman’s rags; to assume a semblance
That very dogs disdain’d; and in this habit
Met I my father with his bleeding rings,
Their precious stones new lost; became his guide,
Led him, begg’d for him, sav’d him from despair;
Never,—O fault!—reveal’d myself unto him
Until some half hour past, when I was arm’d;
Not sure, though hoping of this good success,
I ask’d his blessing, and from first to last
Told him my pilgrimage: but his flaw’d heart,—
Alack, too weak the conflict to support!—
‘Twixt two extremes of passion, joy and grief,
Burst smilingly.
Edm.
This speech of yours hath mov’d me,
And shall perchance do good: but speak you on;
You look as you had something more to say.
Alb.
If there be more, more woeful, hold it in;
For I am almost ready to dissolve,
Hearing of this.
Edg.
This would have seem’d a period
To such as love not sorrow; but another,
To amplify too much, would make much more,
And top extremity.
Whilst I was big in clamour, came there a man
Who, having seen me in my worst estate,
Shunn’d my abhorr’d society; but then, finding
Who ’twas that so endur’d, with his strong arms
He fastened on my neck, and bellow’d out
As he’d burst heaven; threw him on my father;
Told the most piteous tale of Lear and him
That ever ear receiv’d: which in recounting
His grief grew puissant, and the strings of life
Began to crack: twice then the trumpets sounded,
And there I left him tranc’d.
Alb.
But who was this?
Edg.
Kent, sir, the banish’d Kent; who in disguise
Follow’d his enemy king and did him service
Improper for a slave.
[Enter a Gentleman hastily, with a bloody knife.]
Gent.
Help, help! O, help!
Edg.
What kind of help?
Alb.
Speak, man.
Edg.
What means that bloody knife?
Gent.
‘Tis hot, it smokes;
It came even from the heart of—O! she’s dead!
Alb.
Who dead? speak, man.
Gent.
Your lady, sir, your lady: and her sister
By her is poisoned; she hath confess’d it.
Edm.
I was contracted to them both: all three
Now marry in an instant.
Edg.
Here comes Kent.
Alb.
Produce their bodies, be they alive or dead:—
This judgement of the heavens,
that makes us tremble
Touches us not with pity. [Exit Gentleman.]
[Enter Kent.]
O, is this he?
The time will not allow the compliment
That very manners urges.
Kent.
I am come
To bid my king and master aye good night:
Is he not here?
Alb.
Great thing of us forgot!
Speak, Edmund, where’s the king? and where’s Cordelia?
[The bodies of Goneril and Regan are brought in.]
Seest thou this object, Kent?
Kent.
Alack, why thus?
Edm.
Yet Edmund was belov’d.
The one the other poisoned for my sake,
And after slew herself.
Alb.
Even so.—Cover their faces.
Edm.
I pant for life:—some good I mean to do,
Despite of mine own nature. Quickly send,—
Be brief in it,—to the castle; for my writ
Is on the life of Lear and on Cordelia:—
Nay, send in time.
Alb.
Run, run, O, run!
Edg.
To who, my lord?—Who has the office? send
Thy token of reprieve.
Edm.
Well thought on: take my sword,
Give it the Captain.
Alb.
Haste thee for thy life.
[Exit Edgar.]
Edm.
He hath commission from thy wife and me
To hang Cordelia in the prison, and
To lay the blame upon her own despair,
That she fordid herself.
Alb.
The gods defend her!—Bear him hence awhile.
[Edmund is borne off.]
[Re-enter Lear, with Cordelia dead in his arms; Edgar, Officer, and others following.]
Lear.
Howl, howl, howl, howl!—O, you are men of stone.
Had I your tongues and eyes, I’ld use them so
That heaven’s vault should crack.—She’s gone for ever!—
I know when one is dead, and when one lives;
She’s dead as earth.—Lend me a looking glass;
If that her breath will mist or stain the stone,
Why, then she lives.
Kent.
Is this the promis’d end?
Edg.
Or image of that horror?
Alb.
Fall, and cease!
Lear.
This feather stirs; she lives! If it be so,
It is a chance which does redeem all sorrows
That ever I have felt.
Kent.
O my good master! [Kneeling.]
Lear.
Pr’ythee, away!
Edg.
‘Tis noble Kent, your friend.
Lear.
A plague upon you, murderers, traitors all!
I might have sav’d her; now she’s gone for ever!—
Cordelia, Cordelia! stay a little. Ha!
What is’t thou say’st?—Her voice was ever soft,
Gentle, and low,—an excellent thing in woman.—
I kill’d the slave that was a-hanging thee.
Off.
‘Tis true, my lords, he did.
Lear.
Did I not, fellow?
I have seen the day, with my good biting falchion
I would have made them skip: I am old now,
And these same crosses spoil me.—Who are you?
Mine eyes are not o’ the best:—I’ll tell you straight.
Kent.
If fortune brag of two she lov’d and hated,
One of them we behold.
Lear.
This is a dull sight. Are you not Kent?
Kent.
The same,
Your servant Kent.—Where is your servant Caius?
Lear.
He’s a good fellow, I can tell you that;
He’ll strike, and quickly too:—he’s dead and rotten.
Kent.
No, my good lord; I am the very man,—
Lear.
I’ll see that straight.
Kent.
That from your first of difference and decay
Have follow’d your sad steps.
Lear.
You are welcome hither.
Kent.
Nor no man else:—All’s cheerless, dark, and deadly.—
Your eldest daughters have fordone themselves,
And desperately are dead.
Lear.
Ay, so I think.
Alb.
He knows not what he says; and vain is it
That we present us to him.
Edg.
Very bootless.
[Enter a Officer.]
Off.
Edmund is dead, my lord.
Alb.
That’s but a trifle here.—
You lords and noble friends, know our intent.
What comfort to this great decay may come
Shall be applied: for us, we will resign,
During the life of this old majesty,
To him our absolute power:—[to Edgar and Kent] you to your
rights;
With boot, and such addition as your honours
Have more than merited.—O, see, see!
Lear.
And my poor fool is hang’d! No, no, no life!
Why should a dog, a horse, a rat, have life,
And thou no breath at all? Thou’lt come no more,
Never, never, never, never, never!—
Pray you undo this button:—thank you, sir.—
Do you see this? Look on her!—look!—her lips!—
Look there, look there!—
Edg.
He faints!—My lord, my lord!—
Kent.
Break, heart; I pr’ythee break!
Edg.
Look up, my lord.
Kent.
Vex not his ghost: O, let him pass! he hates him
That would upon the rack of this rough world
Stretch him out longer.
Edg.
He is gone indeed.
Kent.
Alb.
Kent.
I have a journey, sir, shortly to go;
My master calls me,—I must not say no.
<p><a title="King Lear Family Analysis" href="http://nathanblom.com/king-lear-family-analysis/#BrookeEssay" target="_blank">Commentary by Brooke Fera</a></p>
<p dir="ltr"><a title="King Lear Family Analysis" href="http://nathanblom.com/king-lear-family-analysis/#BrookeEssay" target="_blank">When Lear wakes up, he does admit to his wrongdoings; if I interpreted correctly. I felt bad for him because its obvious he is not the most reliable source to understanding his surroundings. In other words, he’s a bit crazy. Later on, Lear says to Cordelia, “The gods themselves throw incense. Have I caught thee? He that parts us shall bring a brand from heaven And fire us hence like foxes.” As I approach the end of Shakespeare’s play, my irritation is growing. Lear is now preaching his love to Cordelia. In the beginning, when his daughter was honest and expressed her love in such a way that she desired, Lear banished her and wanted nothing to do with her. Now, after the sights of dishonesty in Regan and Goneril, Lear lies back on his past and “forgives” Cordelia. Like I said, Lear is a bit crazy and not fully aware of everything but in my opinion, this only makes apparent what Lear has wanted all along. Lear is selfish and greedy when it comes to his daughter’s love. He wants to go to prison with Cordelia because he will have her to himself, and therefore, her love will not need to be shared. This is cruel on Lear’s part because after everything he’s been through in this play, he should realize that he’s lucky to have ever had even a portion of her love.</a></p>
<p dir="ltr"><a title="King Lear Family Analysis" href="http://nathanblom.com/king-lear-family-analysis/#BrookeEssay" target="_blank"> </a></p>
<p>Poem in Response to “If thou’rt noble, I do forgive thee.” by Joseph Morag</p>
<p>I killed thee once, thou didst not die<br />
Why, oh why, then should I cry<br />
To see thee smite me in return<br />
Were’t that you were born from high<br />
I would not into your methods pry<br />
But as you’re dressed not to impress<br />
I would put you under duress<br />
To glean from your common mind<br />
How you dared strike me in kind<br />
For you see, though I’m a bastard<br />
My very existence, a crime of highest sort<br />
I have, you see, a rank and title<br />
Both of which I nefariously did court<br />
While I admit to living like a knave<br />
Forging, killing, cheating, sending my brother to a cave<br />
That commoner, I never forgave<br />
For putting me out of my misery<br />
Even though my invitation was clear<br />
To duel me for my crimes against the house of Lear<br />
It was never meant for you! You measly, sniveling little shrew<br />
What’s that, you say? You cur, you fiend, you scoundrel!<br />
Of noble birth, indeed, you are? Oh, my apologies.<br />
Your actions were in the right In truth, my fate, was most rightly deserved.<br />
Your noble actions I do applaud</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/#JosephMoragEssay">Forgiveness Commentary</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/#JosephMoragEssay">by Joseph Morag</a></p>
<p id="id01297"><a title="Shakespeare’s Mockery of the Nobility Essays" href="http://nathanblom.com/shakespeares-mockery-of-the-nobility-essays-katiasamisabellejosephkatherine/#JosephMoragEssay" target="_blank">Such a statement is ridiculous by today’s standards. Most people would not forgive anyone, regardless of their rank, for their murder. This is a testament to how much society has changed from the days of Shakespeare until today. In ancient England where the play is set, it was commonplace for nobles to challenge each other should they feel slighted by their peers. For commoners to assume this same privilege would be sacrilege, however. Edmund’s forgiveness of his attacker is the resolution of his character arc. Throughout the entire play, he is a seething ball of anger, bent on blaming his father and brother for usurping his right to power and privilege. He concocts elaborate plots to discredit Edgar and overthrow Gloucester. Such actions, however, violate the dictates of English society, in which rank and position are function of birth, primarily, not merit. Edmund the bastard’s downfall at the hands of a true noble reestablishes the societal order and brings out forgiveness in a character who, until this point, has only shown us malevolence.</a></p>
<p dir="ltr"><a title="Wisdom in Madness – King Lear" href="http://nathanblom.com/wisdom-in-madness-king-lear/#KrukEssay">(From “General Commentaries on Rest of Lear”)</a></p>
<p dir="ltr"><a title="Wisdom in Madness – King Lear" href="http://nathanblom.com/wisdom-in-madness-king-lear/#KrukEssay" target="_blank">Of justice and nature’s ways, such is William Shakespeare’s King Lear.</a></p>
<p dir="ltr"><a title="Wisdom in Madness – King Lear" href="http://nathanblom.com/wisdom-in-madness-king-lear/#KrukEssay" target="_blank">This greatest theme was the betrayal of kin, yet it’s purpose I think reached much higher. It lingered much on the human condition, of its similarities to the dispositions of animals and of its subservience to the gods, to fortune, and, most importantly, to nature. The events of the play seemed to be overseen by some higher power – as the world had been thrown off balance by the acts of injustice committed by Goneril, Regan and Edmund and it was trying to right itself. The wheel of fortune, being one of these powers, was called upon a few times. As Edmund himself pointed out, it had done justice by returning him to his original state, making the bastard base once more (5.3.208). The gods were often mentioned as well, by Gloucester at the cliff (4.6.44-50), by Lear and by Kent. Lear himself spoke of his and Cordelia’s capture being a sacrifice to the gods, one willed and celebrated by the gods themselves (5.3.22-30). There was always the acknowledged presence and power of, what I shall call, the mythical world – one with monsters and gods, centaurs and fiends. This ultimately put the lives of all the characters at the mercy of nature’s greater powers. Nature was used to refer both to the human condition and the ways of the world – and it was often referenced with a sense of obligation, as all were in a sense bound to it. This made all the people seem powerless and manipulated: all fools whose strings can be pulled. As Lear had said, “when we are born, we cry that we are come to this great stage of fools,” (4.6.200). All the tragic events and misery seemed to occur as the world was trying to restore its state of justice. Every person that had committed some fault had paid with their lives. Even Lear, whose follies had initiates the entire downward spiral.</a></p>
<p dir="ltr"><a title="Wisdom in Madness – King Lear" href="http://nathanblom.com/wisdom-in-madness-king-lear/#KrukEssay">Ultimately it was justice that had the upper hand, wielded by the greater powers of the world the characters lived in.</a></p>
<p dir="ltr"><a title="Wisdom in Madness – King Lear" href="http://nathanblom.com/wisdom-in-madness-king-lear/#KrukEssay">– Julia Kruk (Period 2)</a></p>
<p id="id01298"><a title="Wisdom in Madness – King Lear" href="http://nathanblom.com/wisdom-in-madness-king-lear/#KrukEssay"></a></p>
<p><a title="Sparkly Gay Unicorn Peeps (Ray/Alex/Carina/Ilham/Sophie)" href="http://nathanblom.com/sparkly-gay-unicorn-peeps/#AlexEssay">“The Wheel is Come Full Circle”</a><br />
<a title="Sparkly Gay Unicorn Peeps (Ray/Alex/Carina/Ilham/Sophie)" href="http://nathanblom.com/sparkly-gay-unicorn-peeps/#AlexEssay"> By: Alex Hernandez</a><br />
<a title="Sparkly Gay Unicorn Peeps (Ray/Alex/Carina/Ilham/Sophie)" href="http://nathanblom.com/sparkly-gay-unicorn-peeps/#AlexEssay" target="_blank"> “Tis true. The wheel is come full circle” (Shakespeare Line 208) marks the inevitable downfall of my favorite character, Edmund, the bastard son of Gloucester. Even though Edmund bred tragedy, death, and his own demise, I can’t help but feel a little bad for him. These words he spoke, instead of ringing true with the justification of a bitterly-slayed perpetual villain, made me feel like the person I was rooting for had just lost the battle. Of course, I was not rooting for Edmund in his evil measures, but for that initial courage his character had convinced me of from his opening monologue. His deeds were atrocious, but his intention was to throw the “wheel” of life off course, and defy the barren “nature” society had destined him for. It was at that point that I realized the implications of Shakespeare’s assertions on fate, as a fixated journey from conception to cold grave. Edmund was mistaken for choosing a path of deception and trickery, but his decisions in doing so were cultivated by his persona, which was delivered to him through his environment. Edmund only ever desired a chance to be equal, and he thought that the place for him to discover that was in a world of vindictive manipulation. In his final moments though, such as the aforementioned statement made above, Edmund realizes that even the most powerful Kingdoms and armies of malice could not allow him to get rid of his title as the “bastard”, trying to commit one good deed with his last few breaths of air. Unfortunately, that good deed fails in success, thus ending the play King Lear, in a surfeit of death and unbridled tragedy.</a></p>
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<a title="Analysis of Themes in King Lear" href="http://nathanblom.com/analysis-of-themes-in-king-lear/#Cooke_Essay" target="_blank">In the final scene of King Lear Albany says “All friends shall taste / The wages of their virtue, and all foes / The cup of their deservings” (5.3.301–303). This to me is rather ironic in light of the events of the play. It begins with Cordelia, whose only transgression was that she refused to lie to her father about the depth of her love for him. Apparently that merited her banishment and eventual death. Soon after Cordeila’s banishment, Lear’s loyal servant Kent only tried to reason with him before being banished himself. Despite the king’s actions he remains dedicated to his king and is even put in the stocks for defending Lear’s honor. He makes it to the end of the play alive, but just barely, and he has to go through an abundance of hardship to get there. The Earl of Gloucester gets both of his eyes gouged out before eventually succumbing to his emotional turmoil and dying. His only grievances seemed to be his loyalty to Lear, being a pretty terrible father, and being easily deceived. In this play it seems like virtuous qualities are met with nothing but pain and suffering, so to say that each person gets what they deserve is almost laughable.</a><br />
– Caroline Cooke
<p><a title="Sparkly Gay Unicorn Peeps (Ray/Alex/Carina/Ilham/Sophie)" href="http://nathanblom.com/sparkly-gay-unicorn-peeps/#SophieEssay">Commentary on Tragic Death</a><br />
<a title="Sparkly Gay Unicorn Peeps (Ray/Alex/Carina/Ilham/Sophie)" href="http://nathanblom.com/sparkly-gay-unicorn-peeps/#SophieEssay"> By: Sophie Fain</a><br />
<a title="Sparkly Gay Unicorn Peeps (Ray/Alex/Carina/Ilham/Sophie)" href="http://nathanblom.com/sparkly-gay-unicorn-peeps/#SophieEssay"> Cordelia’s death was tragic and the way in which her character, and most others in</a><br />
<a title="Sparkly Gay Unicorn Peeps (Ray/Alex/Carina/Ilham/Sophie)" href="http://nathanblom.com/sparkly-gay-unicorn-peeps/#SophieEssay" target="_blank"> Shakespeare’s tragedy King Lear have died adds to the beauty of the drama. As Lear dies holding dead Cordelia, I am confused. Lear is the only character who is not killed by another person. I thought it was tragic if one was killed by another person and had their life taken away, such as Cordelia, but Lear is so overwhelmed with grief he just dies, as Shakespeare writes “[He dies]” (V. III. 375). Lear’s death is anticlimactic, but I assume that adds more to the tragedy in a sad way – he died holding the body of the only child who was good. Humans are the ones who create chaos and destroy, and in this case, they also destroy themselves as Lear did. Lear is responsible for all the turn of events and his daughter’s death so maybe that’s tragic enough, and therefore he does not need a grand death because having an anticlimactic death as the central character demonstrates how low Lear has fallen from where he stood at the beginning of the play. So I am left to wonder was Shakespeare’s intentions of writing Lear’s death in such a way to demonstrate Lear’s life was more tragic than his death?</a></p>
<p dir="ltr"><a title="King Lear Family Analysis" href="http://nathanblom.com/king-lear-family-analysis/#SamEssay" target="_blank">Commentary by Sam Prete</a></p>
<p dir="ltr"><a title="King Lear Family Analysis" href="http://nathanblom.com/king-lear-family-analysis/#SamEssay" target="_blank">The ending of King Lear left me perplexed. I thought it was too drastic of Shakespeare to kill off basically every main character of the play. I thought Goneril, Regan, Oswald, Cornwall, and Edmund’s deaths were justified because they were the evil characters of the play. I thought Gloucester, Cordelia, and Lear was too much. I understand that a tragedy is supposed to be, well, tragic..but the fact that good character’s died as well as the evil ones really struck me as disturbing. It makes one wonder, Is there any divine justice in this world? Killing all the good and bad characters makes me think that Shakespeare’s message was that there is no justice at all; that the good and evil in the world can both lead to madness. Life is not always fair to ones that deserve it due to influences around them or other unavoidable factors.</a></p>
<p dir="ltr"><a title="King Lear Family Analysis" href="http://nathanblom.com/king-lear-family-analysis/#SamEssay" target="_blank">Kent says in act 5 scene 3 “The wonder is, he hath endured so long” meaning its a wonder how Lear even dealt with his madness and insanity for as long as he did. Kent was trying to justify Lear’s death. We get an idea here that Lear set himself up for his own death from the very beginning, by banning Cordelia, the daughter who loved him the most. If he never banished her, she would have taken care of him, sparing his life along with hers and possibly her sisters. Then Edgar says in the last sentence of the play “The oldest hath borne most. We that are young shall never see so much, nor live so long.” This means that Lear, the oldest has suffered the most and the young ones will never live as long as he did or see as much as he saw. So even though we looked at Lear as evil in the beginning of the play for banishing Cordelia and other actions, we realize that he was bitter for a reason; for seeing so much and dealing with all of the burdens of being King. He was not in the right state of mind to take decisions. There is a sense of respect for him for as we read these last two lines. There is also a sense of sympathy for King Lear as he dies along with his daughter Cordelia, right after coming to terms with her and realizing his mistake. It reminds us again that there is no justice in this world and that good actions will not always dominate over evil. It reminds us that there is really no order to how things will play out in the real world. If there was, Lear would have been spared his life.</a></p>
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When the Fool says, “Thou canst tell why one’s nose stands i’ th’ middle on’s face?” (Shakespeare 1.5 Line 19-20) it seems to allude that the answer of his daughters’ love is right in front of Lear’s eyes. There is no thinking about the matter of Cordelia, Regan, and Goneril. It is clear who the real sincere daughter is and Lear does not seem to realize this. Like many people have said, the Fool is trying to tell Lear that he is making a mistake. With the first part of the quote, “Thou canst tell…”, the Fool is very direct in referring to Lear as an equal rather than a king. The Fool seems to have a level of comfort with Lear that would not be expected of that time. Fools were usually only a source of entertainment and often abused. When the Fool then says, “…why one’s nose stands i’ th’ middle on’s face?”, it is a seemingly simple allusion. He is telling Lear that the answer is right there. With this analogy, there was not much wonder as to why the nose was in the middle of the face, because it just was. There is no person without a nose in the middle of their face and therefore, the Fool tries to enlighten Lear of the absence of a need to think about the situation. Lear is growing hasty with his decisions. I feel like even if he did realize he was making a mistake, he would still go through with it because of all the trouble it has given him. Lear is obviously over thinking the situation with his daughters’ love and will continue with his brash decisions throughout the play. – <a title="The Three Musketeers" href="http://nathanblom.com/the-three-musketeers/#GeorgeEssay">George </a>
<p dir="ltr">The ending of King Lear is one that completely shocks readers. Myself among many others are used to stories that end with the good characters triumphing over the bad, yet Shakespeare throws us for a loop when he kills off almost everyone in the play. The demise of Goneril and Regan, the evil sisters fighting over power, is more expected than the sudden death of Lear who seemed to have learned from his past mistakes in the end. The question is why such a depressing, gloomy final scene? What was the reasoning behind the sudden death of so many characters? The ending supports the idea that in this play, no matter who’s considered noble and who’s considered dishonorable, each character has a <a title="Internal and External Worlds in King Lear" href="http://nathanblom.com/internal-and-external-worlds-in-king-lear/">fatal flaw </a> that in the end leads to their downfall. In fact, the final scene hits the nail right on the head when proving how hamartia (in not just the heroine) has such a huge impact on the entirety of the play, and is the driving theme of King Lear.</p>
<p id="id01375">Many areas of the text point to this theme of fatal flaws that in turn lead to the death of multiple characters. Most notably are Goneril, Regan, Edmund, and Lear.</p>