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    King Lear: A Tragedy
    King Lear: A Tragedy
    King Lear: A Tragedy
    Ebook181 pages1 hour

    King Lear: A Tragedy

    By William Shakespeare

    4.5/5

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    About this ebook

    King Lear is driven to the brink of madness by his own actions when he disinherits his youngest daughter, the lovely Cordelia, because of her inability to express her love for him. Having divided his realm between his remaining daughters, Goneril and Regan, Lear is betrayed by his two foolish and deceitful children, and is left to wander the heath with only his Fool, his servant Caius, and the madman Tom O’Bedlam for company. Eventually reunited with Cordelia, Lear is too late repents his rashness, and must face the tragic consequences of his choices.

    Known as “The Bard of Avon,” William Shakespeare is arguably the greatest English-language writer known. Enormously popular during his life, Shakespeare’s works continue to resonate more than three centuries after his death, as has his influence on theatre and literature. Shakespeare’s innovative use of character, language, and experimentation with romance as tragedy served as a foundation for later playwrights and dramatists, and some of his most famous lines of dialogue have become part of everyday speech.

    HarperPerennial Classics brings great works of literature to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperPerennial Classics collection to build your digital library.

    LanguageEnglish
    PublisherHarperCollins
    Release dateDec 16, 2014
    ISBN9781443443395
    King Lear: A Tragedy
    Author

    William Shakespeare

    William Shakespeare is the world's greatest ever playwright. Born in 1564, he split his time between Stratford-upon-Avon and London, where he worked as a playwright, poet and actor. In 1582 he married Anne Hathaway. Shakespeare died in 1616 at the age of fifty-two, leaving three children—Susanna, Hamnet and Judith. The rest is silence.

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    Reviews for King Lear

    4.5/5

    38 ratings52 reviews

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    • 3/5
      A fairly quick read. I didn't love it as much as I remember. Lear was way obsessed with 'nature' and the whole thing was so pompous. But not as bad as some of his other stuff.
    • 5/5
      The division of the Kingdom begins the play with first, the Earls of Kent and Gloucester speculating on the basis for the division and second, the actual division by Lear based on professions of love requested from his three daughters. When this event goes not as planned the action of the play ensues and the reader is in for a wild ride, much as Lear himself.The play provides one of Shakespeare's most thoroughly evil characters in Edmund while much of the rest of the cast is aligned against each other with Lear the outcast suffering along with the Earl of Gloucester who is tricked by his bastard son Edmund into believing that his other son Edgar is plotting against him. While there are some lighter moments the play is generally very dark filled with the bitter results of Lear's poor decisions at the outset. Interestingly we do not get much of a back story and find, other than his age of four score years, little else to suggest why Lear would surrender his power and his Kingdom at the outset. The play is certainly powerful and maintains your interest through dramatic scenes, while it also provides for many questions - some of which remain unanswered.
    • 5/5
      A very enjoyable edition. Unlike most of the Arden editions, Foakes comes across more as an educator than an academic-among-friends. This does mean occasionally that he'll cover ground most professional-level readers already understand, but it makes this a really well-rounded introduction to the play.

      The decision here is to incorporate both Quarto and Folio texts in one, with the differences clearly delineated. It's probably the best possible option for this play, and well done.
    • 3/5
      The illustrations are unremarkable.
    • 4/5
      Een van de krachtigste stukken van Shakespeare; een confrontatie van extremen.
    • 4/5
      This did not quite top Hamlet as my favorite Shakespeare play but it is way up there. With the exception of the black and white hatted Gloucester boys there is a lot more moral complexity and ambiguity than you normally see in Shakespeare play; it wasn't until well into the play that I had any idea who I was supposed to sympathize with between the king and the daughters and that suspense actually adding a great deal to my interest while reading. Edgar's antic disposition is a lot more interesting and entertaining to me than Hamlet's but he doesn't have anything like Hamlet's soliloquies.
    • 5/5
      At the risk of sounding flippant, I realized that there are two productions of King Lear that need to be done: one set in the Klingon Empire, and the other performed by Monty Python. Go ahead, I dare you, read Poor Tom's lines like Eric Idle and try not to laugh!
    • 5/5
      This is especially devastating because (sorry, Aristotle's Poetics, but indeed because) it departs from the conventions of good Greek tragedy. Nobody's led astray slickly by their tragic flaw;* Lear's ennobled by suffering perhaps but at the start he's no philosopher king (as I'd envisioned) but a belching, beer can crushing Dark Ages thug lord who definitely brings it on himself, but not in any exquisite "his virtue was his fall" way. Cordelia is, not an ungrateful, but an ungracious child whose tongue is a fat slab of ham and who can't even manage the basic level of social graces to not spark a family feud that leaves everyone killed (surely a low bar!!). Goneril and Regan are straight-up venial malice, Shakespeare's Pardoner and Summoner; Edmund, obviously, charismatic, but a baaaad man; and the default good guys, the ones with the chance to win the day and transform this blood-filled torture show into two hours' pleasing traffic of the stage, obviously fumble it bigly (Albany, unbrave and too subtle; Kent, brave and too unsubtle; Gloucester, a spineless joke; and what is Edgar doing out in that wilderness when he should be teaming up with Cordelia and Kent to plan an invasion that's a MacArthuresque comeback and not a disaster, to go down as the plucky band of good friends who renewed the social compact with their steel and founded a second Camelot, a new England). They're not all monsters, and there are frequent glimmers of greatness, but they fuck it all up; in other words, they're us.And then Lear's madness has much too much of, like, an MRA drum circle meeting, with the Fool and Kent and Edgar/John o'Bedlam (that's a name, that) farting around the wastes going "Fuckin' bitches, can't live with em, can't smack em one like they deserve" (though of course this is a Shakespearean tragedy, so everyone pretty much gonna get smacked one sooner or later). Not tragic flaws, in other words, but just flaws, with only glimmers of the good, and all the more devastating for that because all the more real. It's haaard to keep it together for a whole lifetime and not degenerate into a sad caricature of you at your best, or you as you could have been, and I wonder how many families start out full of love and functional relations and wind up kind of hating each other in a low key way just because of the accretion of mental abrasions plus the occasional big wound and because life is long.This seems like a family that just got tired of not hating each other, standing in for a social order that's gotten tired of basically working from day to day, and everyone's just itching to flip the table and ruin Thanksgiving. I have little faith, post-play, that Edgar or Albany in charge will salvage the day--historically, of course, their analogues did not--and it's gonna be a long hard road to a fresh start (we don't of course try to find one such in the actual history--I mean, 1066?--pretty sure fresh starts don't happen in actual history--but I trust the general point is clear). This seems like the most plausible/least arbitrary of Shakespeare's tragedies, I am saying here, and thus also the most desolate, and one with lessons for any family (cf., say, Hamlet, with its very important lessons for families where the mother kills the dad and marries his brother and the dad's ghost comes back to tell the son to kill his uncle, a niche market to say the least), and one that I'll revisit again and again.*Side note, my friend Dan calls me "My favourite Hamartian," and I'm recording that here because we may grow apart and I may forget that but I never want to forget really and so, hope to find it here once more
    • 4/5
      Een van de krachtigste stukken van Shakespeare; een confrontatie van extremen.
    • 4/5
      Vain and silly King Lear demands that each of his three daughters describe their love for him. When the youngest and favored Cordelia gives a reply that is less gushing, but more reasonable, than her sisters, the King banishes her. This sets up a chain of miserable events in which the sisters and their husbands scramble to replace Cordelia in their father's heart, but fail because ambition brings out their cruelty.
    • 4/5
      Probably the best of Shakespeare's works thematically, but not the easiest to follow. The sub-plots, the various intrigues, makes for a very convoluted plot. Some great roles though -- Lear, Edgar playing a madman, the Fool, the evil Edmund and the scheming daughters ... some serious scene-stealing material.
    • 4/5
      Thoughts on the play: -A classic tragedy in which almost everyone dies at the end. -I really didn't have much sympathy for Lear. He acted incredibly foolishly, not just once in turning his back on Cordelia, but many times. -At first, Goneral seemed to be acting reasonably. If Lear had restrained his knights, much of the tragedy would have been lessened. (This was one of the foolish actions of Lear's I mentioned above.) However, as the plot moves on, she is revealed as being more and more terrible. -Edmund struck me as the villain, and he also acted as a catalyst for villainy. So I found the scene at near the end after he & Edgar had dueled a bit hard to believe - after everything, Edgar just forgives him!?! -I was shocked when Cornwall plucks out Gloucester's eyes. I didn't know that was going to happen! Gloucester struck me as the true tragic hero, rather than Lear. Both of them cast off deserving children, but Gloucester realized his error and suffered for it. It wasn't clear to me that Lear recognized his own faults the way Gloucester did.
    • 5/5
      I enjoy the Folger editions of Shakespeare - to each his own in this matter. Some find Lear to be overblown, I am tremendously moved by it, and haunted by the image of the old man howling across the barren heaths with his dead daughter in his arms. 'I am bound upon a wheel of fire, that mine own tears Do scald like molten lead.' Lear 4.7.52-54
    • 5/5
      One of my favorite Shakespeare plays. King Lear asks his daughters who truly loves him, and the oldest two spin golden words of flattery while the third one cannot do so. Lear abandons his third daughter and this opens the story to the madness that follows. Brilliantly imagined characters and psyches. Worth it
    • 5/5
      Maybe the fifteenth time I've read Lear (this time in the tiny red-leather RSC edition). Always impressed, especially with the curses and curse-like screeds. I can't stand Lear onstage, particularly the blinding of Gloster (so spelled in this edition). How sharper than a serpants teeth it is / to have a thankless child--though having a thankless parent like Lear, Act I Sc I, ain't so great either. I do love the Russian film Lear with music by Shostakovich, and the King's grand route through his bestiary of hawks and eagles.I suppose this is Shakespeare's great (that's redundant, since "Sh" is mostly "great") assessment of homelessness. The undeservingly roofless. it is also his only play on retirement, which he recommends against. Or perhaps Lear should have had a condo in Florida? Of course, his hundred knights, a problem for the condominium board, as it was for his daughters. And Shakespeare, who says in a sonnet he was "lame by fortune's despite" also addresses the handicapped here, recommending tripping blind persons to cheer them up.Of course, Lear has his personal Letterman-Colbert, the Fool, so he doesn't need a TV in the electrical storm on the heath. That's fortunate, because it would have been dangerous to turn on a TV with all that lightening. The play seems also to recommend serious disguises like Kent's dialects and Edgar's mud. Next time I go to a party I'll think about some mud, which reduces Edgar's likelihood of being killed by his former friends.And finally, the play touches on senility, where Lear cannot be sure at first Cordelia is his daughter.I'm not sure, but the author may be recommending senility as a palliative to tragedy--and to aging. A friend of mine once put it, "Who's to say the senile's not having the time of his life?"
    • 5/5
      Excellent work. I saw this performed at the Great River Shakespeare Festival in Winona, MN. Very powerful performance. I liked this edition in particular because it explained the nuances of the language right next to the original text. That plus the performance made this easier to understand.
    • 5/5
      When people want to rank Shakespeare's plays, usually Hamlet comes out as number one. This, in my experience, is the only other of his plays that I have seen mentioned as his greatest. If I were to rank his plays solely based upon their impact upon the world, I would probably agree with the usual placement of Hamlet as number one. However, were I to rank them based upon their impact on me, Lear gets the nod. Lear accurately and horrifyingly portrays the primal nature of man like few other works of literature; the only other to come to my mind is Lord of the Flies. Yet it's more than that; Lord of the Flies can afford to ignore the effects of sexual attraction and familial ties upon our nature, but Lear (the work, not the character) meets these head-on and uses them to devastating effect. This play alone would guarantee Shakespeare a place as one of the greatest English authors. With the rest of his body of work, there's no question that he is the greatest.
    • 3/5
      There is an abundance of reviews, essays, opinions and prejudicial comments available when talking about Shakespeare. It would seem that the man was incapable of jotting down a bad sentence, let alone a bad story, at least, that's the veil they hand you when calling Shakespeare, morbidly referred to as 'Willy' by those who know the first three lines of Hamlet's 'to be or not to be'-speech, 'the greatest writer of all time'.

      In this review, I shall not beshame my opinion by calling anyone Willy, Shakey, Quilly or by using the word 'Shakespearean'. 'King Lear' is not the strongest play in the exuberant repertoire of Shakespeare. It is, however, one of the more reader-friendly ones, which means you don't need a detailed map of familial relations to follow the plot. The story of King Lear relies heavily on stories that already existed at the time, but had only served as traditional folk tales or as long forgotten myths. For those who are oblivious to the plot - King Lear wants to divide his kingdom between his three daughters, Goneril, Regan and Cordelia. Whereas Goneril and Regan go out of their proverbial ways to flatter their father, Cordelia remains reticent (but honest). Which, of course, is not much appreciated. What follows resembles the story of Oedipus, that other Blind King who slowly wandered into his own destruction. Gloucester, one of the side characters, actually does lose his eyes.

      'King Lear', in the end, is a reflection on power and what one will do to achieve it. Even though it might be a bit stale nowadays, it still holds true to its message, and for those who enjoy Shakespeare's husky metaphor, this play will provide you with all the ammunition needed.
    • 5/5
      There are three main reasons for the disorder already occurring by the end of Act I. The first and most obvious is Lear's madness. He certain seems to be loosing it a bit, and his crazed banishment of Cordelia and Kent couldn't possibly have done anything but harm to him. The second reason is Cordelia's sister's treachery. It could be argued that they appear to be trying to protect him and their people by taking away his knights, he is crazy after all, if it weren't for Cordelia's parting words to them; "I know you what you are;/And, like a sister, am most loth to call/Your faults as they are nam'd. Love well our father:/To your professed bosoms I commit him:/But yet, alas, stood I within his grace, I would prefer him to a better place." And a few lines later; "Time shall unfold what plighted cunning/Who cover faults, at last shame them derides." These lines seem to indicate that Cordelia knows that Goneril and Regan are not only flattering Lear for gain, but also that they hold him in contempt, and will likely do him harm, and revealing the second harbinger of disorder.

      The third indicator of the chaos to come is Edmund. I feel bad for him, for the contempt others hold him in because of the doings of his parents, but he quickly does what he can to dispel my pity for him with his evil attitudes as he works to turn his father and brother against one another. I find it ironic that he distains his father's belief in fate through astrology, yet confesses that because of when he was born he was supposed to be 'rough and lecherous,' yet doesn't believe himself to have those traits he was just showing.

      Shakespeare's purpose in showing this disorder seems to come from the idea of dividing his kingdom. A divided kingdom would often lead to civil war and chaos, so Lear's deliberate dividing of the kingdom would probably have been viewed as deliberately inviting disorder.

      Power in England was structured in a pyramid. The king on top, and wealth and power went to a few nobles who had all the money. Lear was trying to disrupt that structure in a way that would have alarmed the people watching the play. Cordelia took a great risk in not bowing to her father's wishes, as his denying her dowry could have driven away both her suitors, leaving her alone and destitute in a world that didn't favor lone women. In her case, however Cordelia's suitor from France still marries her, which would be very unusual since she had no dowry, and she wouldn't gain him an alliance with England.

      Family dynamics can change depending on the health of a person, as others may come into their lives and as children grow up. Cordelia was Lear's favorite child, yet when she would not lie to him with flattery, he cast her off. Why? Did he not realize that her impending marriage would change is relationship with her? She would still love him, of course, but even with the play being in pre-Christian era, the belief would probably have been that the wife's foremost alliegence should be to her husband, and Lear should have understood this. In fact, it seems strange that he would have even questioned this part of the structure of society at all.

      No one has a perfect family. This is shown in Edgar and Edmund's family. Gloster (or Gloucester as some versions call him) may have been unfaithful to his wife, it's never stated whether she was alive at the time of Edmund's conception. If Gloster was unfaithful to his wife than he was dishonest and breaking one of the oldest understandings of marriage. If Edgar's mother had already died, that Gloster was not responsible enough to remarry, and to marry Edmund's mother, or at least admit himself Edmund's father when the boy was a child, instead of waiting until Edmund was old enough to distinguish himself, and in doing so, add to Gloster's reputation. It seems very unfair that Edmund, and almost any other illigitmate child born until the the late 1900s should be punished for something that their parents did. Yet neither should Edmund take out his misfortunes on his brother, who was, in all probability, guiltless in tormenting him. After all, Edgar trusts Edmund completely, which does not seem like an attitude he would hold had he tormented Edmund before. I think that Gloster could have stopped his fate had he treated Edmund with kindness from the beginning of his life, rather than waiting until Edmund could add to his reputation to acknowledge him.

      I don't actually seem him mocking Edmund, so much as simply being ashamed of his illegitimacy because it was Gloster's own act that was the cause of Edmund's bastardy. As Gloster was speaking to Kent, he was very frank about the manner of Edmund's conception, to the point that we would say he was being rude to Edmund, but really, for the time, the fact that he had acknowledged Edmund as his son at all was better than many bastards would have gotten. For this reason I think that more than anything it was the fact that he took so long to acknowledge Edmund, that led to Edmund's bitterness and Gloster's downfall.

      (This review is patched up from posts I made on an online Shakespeare class)
    • 3/5
      The version of Lear I saw in 2012 too closely matched the texted: too many story lines, too many gag scenes, and too much talking about how hard it is to be king. The tragedy of Lear is that he gets exactly what he deserved. For me, it lacks much of the intrigue of Macbeth or the poetry of Hamlet or Othello.
    • 4/5
      Shakespeare but I have not read it in a long time and I do not think that I have ever seen it.
    • 4/5
      To sum up the play in one sentence: this is the story of a king seeking to divide his kingdom among his three daughters based on who could articulate her love for him the best. Beyond that it is the tragedy of emotional greed - of wanting to be loved at any cost. It is the tragedy of politics and family dynamics. Youngest daughter Cordelia is unwilling to conform to her father's wishes of exaggerated devotion. Isn't the last born always the rebel in the family? As a result Cordelia's portion of the kingdom is divided among her two sisters, Goneril and Regan. The story goes on to ooze betrayal and madness. Lear is trapped by his own ego and made foolish by his hubris.
    • 3/5
      Not my cup of tea, but it was nice to read it because I haven't before.
    • 4/5
      One of my favorite Shakespeare plays, though it had been a long time since I read it. Didn't disappoint on a reread!
    • 4/5
      King Lear makes a fateful decision to divide his kingdom between his three daughters. The reaction of one daughter, Cordelia, displeases the king so much that he cuts her out of any inheritance. The kingdom will be divided between the other two daughters, Goneril and Regan. His plan is that they will take care of him in his old age. They soon decide that they don't want to use their inheritance to support their father, and the king finds himself with nowhere to shelter in a violent storm. Meanwhile, the Earl of Gloucester's illegitimate son plots to usurp his legitimate brother's place as their father's heir. As in many of Shakespeare's plays, there are characters in disguise. It's filled with violence and cruelty without comic relief like the gravedigger scene in Hamlet. The family conflict at its heart will continue to resonate with audiences and readers as long as there are families.
    • 5/5
      King LearWilliam ShakespeareThursday, March 27, 2014 In my Shakespeare class, senior year of college, the professor thought this was the play central to understanding Shakespeare. The tale is familiar; Lear gives up his Kingdom to avoid the cares of ruling, dividing it among his daughters. Cordelia, the most honest, points out that she owes him a duty but also owes her fiancé, the King of France, love and affection. Lear casts her out, because she is not as effusive as her sisters, Regan and Goneril. Goneril, hosts the King first, instructs her servants to ignore his knights, and when he goes to Regan, she sends a letter to ensure he is cast out there as well. Lear goes mad in a storm, succored by Kent, a loyal knight whose advice was unwelcome in the initial scene, and by Edgar, the son of the Earl of Gloucester, who has been usurped by the machinations of Edmund, a bastard son, and who is the lover of Regan and Goneril. Cordelia brings an army to rescue Lear, but is defeated, and in the schemes of Edmund is killed in captivity. Regan dies, poisoned by Goneril jealous of Edmund, Goneril dies by suicide after Edmund is killed by Edgar, Gloucester dies after a blinding, and Lear dies of heart attack. Lear's speeches while mad are the essence of the mature understanding of the human situation "Striving to better, oft' we mar what's well""Let me kiss your hand!" Lear, in response "Let me wipe it first, it smells of mortality"Leather bound, Franklin Library, Tragedies of Shakespeare ($34.60 4/28/2012)
    • 5/5
      Perhaps the best of Shakespeare's plays. I have read this one a few times and it is a play to which I can return and return. I say "perhaps" Shakespeare's best only because I truly love several of his plays and whore-about in my preference, tossing my Willy-love hither and yon to any Dark Prince that may happen past. Ah love! 'Tis a fickle mistress.
    • 4/5
      Fourth book of the readathon. Read in snatches during a car journey and between acts in a concert! Which is probably not the best way to experience Shakespeare, laying aside the issue that I think the best way to experience it is by watching it, but I enjoyed it. I've always rather liked Cordelia, with her steadfast truthfulness, and I do remember some very vivid mental images regarding eyes being put out when, at the age of nine, I read a children's version of the story.

      And of course, Shakespeare's use of language, his sense of timing, his grasp of what will look good on stage -- that's as expected: he was a master.
    • 5/5
      Teaching it for the second time. The Folger edition is okay, but it badly needs to be updated; and the illustrations in the facing page are, to my mind, badly chosen, unless they're meant only to promote the grandeur of the Folger library. I think they would have done much better to provide photos of scenes taken from various productions/films/adaptations of Lear; no doubt the students would pay more attention to such things, to say nothing of nonexpert instructors like me.

      Oh, the play: certainly very good at cutting the legs out from under the notion that suffering can be redemptive. Lear discovers compassion and love, Gloucester grows up, but what do they get? Death. And what are we left with? The two appalling milquetoast prigs, Albany and Edgar,* perhaps the two characters in Lear who understand least well what the whole thing is about. At least Kent has the grace to go off and wait to die.

      * Hilarious: I just googled these names and the second hit is some plagiarism mill that's selling an essay that reads "Albany and Edgar both possess honest and kind characters." You have got to be kidding me! Please, please, please let someone try to get this paper past me. How stupid or desperate would someone have to be to pay for a paper that's, at best, a B-?
    • 5/5
      My absolute favorite Shakespeare play. Extra love for the fact that this came up when I searched for Stephen King.

    Book preview

    King Lear - William Shakespeare

    DRAMATIS PERSONAE

    LEAR

    King of Britain

    KING OF FRANCE

    DUKE OF BURGUNDY

    DUKE OF CORNWALL

    DUKE OF ALBANY

    EARL OF KENT

    EARL OF GLOUCESTER

    EDGAR

    son to Gloucester

    EDMUND

    bastard son to Gloucester

    CURAN

    a courtier

    Old Man, tenant to Gloucester

    Doctor

    Fool

    OSWALD

    steward to Goneril

    A Captain employed by Edmund

    Gentleman attendant on Cordelia

    A Herald

    Servants to Cornwall

    GONERIL, REGAN, CORDELIA

    daughters to Lear

    Knights attending on Lear, Officers, Messengers,

    Soldiers, and Attendants.

    THE SCENE: BRITAIN.

    ACT ONE

    SCENE I. King Lear’s palace.

    Enter KENT, GLOUCESTER, and EDMUND.

    KENT I thought the King had more affected the

    Duke of Albany than Cornwall.

    [6]

    GLOUCESTER It did always seem so to us; but now, in the division of the kingdom, it appears not which of the Dukes he values most; for equalities are so weigh’d that curiosity in neither can make choice of either’s moiety.

    KENT Is not this your son, my lord?

    [10]

    GLOUCESTER His breeding, sir, hath been at my charge. I have so often blush’d to acknowledge him that now I am braz’d to’t.

    KENT I cannot conceive you.

    [15]

    GLOUCESTER Sir, this young fellow’s mother could; whereupon she grew round-womb’d, and had indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault?

    KENT I cannot wish the fault undone, the issue of it being so proper.

    GLOUCESTER But I have a son, sir, by order of law, some year elder than this, who yet is no dearer in my account. Though this knave came something saucily to the world before he was sent for, yet was his mother fair; there was good sport at his making, and the whoreson must be acknowledged. – Do you know this noble gentleman, Edmund?

    [25]

    EDMUND No, my lord.

    GLOUCESTER My Lord of Kent. Remember him hereafter as my honourable friend.

    EDMUND My services to your lordship.

    KENT I must love you, and sue to know you better.

    [30]

    EDMUND Sir, I shall study deserving.

    GLOUCESTER He hath been out nine years, and away he shall again. [Sennet] The King is coming.

    Enter One bearing a coronet; then LEAR, then the DUKES OF ALBANY and CORNWALL, next GONERIL, REGAN, CORDELIA, with Followers. LEAR Attend the Lords of France and Burgundy, Gloucester.

    GLOUCESTER I shall, my liege.

    [Exeunt Gloucester and Edmund.

    [35]

    LEAR Meantime we shall express our darker purpose.

    Give me the map there. Know that we have divided

    In three our kingdom; and ’tis our fast intent

    To shake all cares and business from our age,

    Conferring them on younger strengths, while we

    Unburden’d crawl toward death. Our son of

    [40]

    Cornwall,

    And you, our no less loving son of Albany,

    We have this hour a constant will to publish

    Our daughters’ several dowers, that future strife

    May be prevented now. The Princes, France and

    Burgundy,

    [45]

    Great rivals in our youngest daughter’s love,

    Long in our court have made their amorous sojourn,

    And here are to be answer’d. Tell me, my daughters --

    Since now we will divest us both of rule,

    Interest of territory, cares of state --

    [50]

    Which of you shall we say doth love us most?

    That we our largest bounty may extend

    Where nature doth with merit challenge.

    Goneril,

    Our eldest-born, speak first.

    GONERIL Sir, I love you more than word can wield the matter;

    [55]

    Dearer than eyesight, space, and liberty;

    Beyond what can be valued, rich or rare;

    No less than life, with grace, health, beauty, honour;

    As much as child e’er lov’d, or father found;

    A love that makes breath poor and speech unable:

    [60]

    Beyond all manner of so much I love you.

    CORDELIA [Aside] What shall Cordelia speak?

    Love, and be silent.

    LEAR Of all these bounds, even from this line to this,

    With shadowy forests and with champains rich’d,

    With plenteous rivers and wide-skirted meads,

    [65]

    We make thee lady: to thine and Albany’s issues

    Be this perpetual. – What says our second daughter,

    Our dearest Regan, wife of Cornwall? Speak.

    REGAN I am made of that self metal as my sister,

    And prize me at her worth. In my true heart

    [70]

    I find she names my very deed of love;

    Only she comes too short, that I profess

    Myself an enemy to all other joys

    Which the most precious square of sense possesses,

    And find I am alone felicitate

    In your dear Highness’ love.

    [75]

    CORDELIA [Aside] Then poor Cordelia!

    And yet not so; since I am sure my love’s

    More ponderous than my tongue.

    LEAR To thee and thine hereditary ever

    Remain this ample third of our fair kingdom;

    [80]

    No less in space, validity, and pleasure,

    Than that conferr’d on Goneril. – Now, our joy,

    Although our last and least; to whose young love

    The vines of France and milk of Burgundy

    Strive to be interess’d; what can you say to draw

    [85]

    A third more opulent than your sisters? Speak.

    CORDELIA Nothing, my lord.

    LEAR Nothing!

    CORDELIA Nothing.

    LEAR Nothing will come of nothing. Speak again.

    [90]

    CORDELIA Unhappy that I am, I cannot heave

    My heart into my mouth. I love your Majesty

    According to my bond; no more nor less.

    LEAR How, how, Cordelia! Mend your speech a little.

    Lest you may mar your fortunes.

    CORDELIA Good my lord,

    [95]

    You have begot me, bred me, lov’d me; I

    Return those duties hack as are right fit,

    Obey you, love you, and most honour you.

    Why have my sisters husbands, if they say

    They love you all? Haply, when I shall wed,

    [100]

    That lord whose hand must take my plight shall carry

    Half my love with him, half my care and duty.

    Sure I shall never marry like my sisters,

    To love my father all.

    LEAR But goes thy heart with this?

    CORDELIA Ay, my good lord.

    [105]

    LEAR So young and so untender?

    CORDELIA So young, my lord, and true.

    LEAR Let it be so! Thy truth, then, be thy dower!

    For, by the sacred radiance of the sun,

    The mysteries of Hecat and the night;

    [110]

    By all the operation of the orbs

    From whom we do exist and cease to be;

    Here I disclaim all my paternal care,

    Propinquity and property of blood,

    And as a stranger to my heart and me

    Hold thee from this for ever. The barbarous

    [115]

    Scythian,

    Or he that makes his generation messes

    To gorge his appetite, shall to my bosom

    Be as well neighbour’d, pitied, and reliev’d,

    As thou my sometime daughter.

    KENT Good my liege --

    [120]

    LEAR Peace, Kent!

    Come not between the dragon and his wrath.

    I lov’d her most, and thought to set my rest

    On her kind nursery. [To Cordelia] Hence, and avoid my sight! --

    So be my grave my peace as here I give

    [125]

    Her father’s heart from her! Call France – Who stirs?

    Call Burgundy. Cornwall and Albany,

    With my two daughters’ dowers digest this third.

    Let pride, which she calls plainness, marry her.

    I do invest you jointly with my power,

    [130]

    Pre-eminence, and all the large effects

    That troop with what majesty. Ourself, by monthly course,

    With reservation of an hundred knights,

    By you to be sustain’d, shall our abode

    Make with you by due turn. Only we shall retain

    [135]

    The name, and all th’ addition to a king:

    The sway, revenue, execution of the rest,

    Beloved sons, be yours; which to confirm,

    This coronet part between you.

    KENT Royal Lear,

    Whom I have ever honour’d as my king,

    [140]

    Lov’d as my father, as my master follow’d,

    As my great patron thought on in my prayers --

    LEAR The bow is bent and drawn; make from the shaft.

    KENT Let it fall rather, though the fork invade

    The region of my heart. Be Kent unmannerly

    [145]

    When Lear is mad. What wouldst thou do, old man?

    Think’st thou that duty shall have dread to speak

    When power to flattery bows? To plainness honour’s bound

    When majesty falls to folly. Reserve thy state;

    And in thy best consideration check

    [150]

    This hideous rashness. Answer my life my judgment:

    Thy youngest daughter does not love thee least;

    Nor are those empty-hearted whose low sounds

    Reverb no hollowness.

    LEAR Kent, on thy life, no more!

    KENT My life I never held but as a pawn

    [155]

    To wage against thine enemies; nor fear to lose it,

    Thy safety being motive.

    LEAR Out of my sight!

    KENT See better, Lear; and let me still

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