King Lear Reading Guide

This reading guide courtesy of a friend, Mr. Lawrence, who gave permission for its use; the first person pronouns and the voice are his, though I've made small edits and revisions. Use it to help you notice what's happening, scene by scene.

List of Characters

Note that King Lear is the King of Britain—that would suggest a much earlier time. Lear is usually seen as a legendary Celtic king. Whether he existed or not is debatable. But the audience of this play was England in 1606. Shakespeare wrote the play in 1605 or so. Think about the political climate at this time. Elizabeth I died in 1603; James I from Scotland is the king now. Will Shakespeare have anything political to say?
This play also deals with the parent-child relationship. As high school students, you cannot help but ponder such questions as what do parents owe you, what do you owe them, what do you each expect of the other, what should each expect of the other, etc. In addition, many of your parents are close to my age, and they are confronted with caring for their own parents, your grandparents.
King Lear has three daughters, the oldest two of whom are married: Goneril to the Duke of Albany and Regan to the Duke of Cornwall. In the political hierarchy, the Duke would be just under a King—with very large areas of property he would control. An earl is below a duke. Earls are often advisers to kings and dukes. Both the Earl of Kent and the Earl of Gloucester serve as advisors to King Lear. The subplot of the play involves Gloucester and his sons—Edgar and Edmund. The Duke of Burgundy and King of France are suitors to Lear’s youngest daughter Cordelia. The Fool is a kind of court jester to the king—pay close attention to the wisdom of his speeches—he provides much more in this play than just comic relief.

1.1

The first 30 lines or so tell us of 2 unnatural happenings: one that is about to happen and the other happened a long time ago. What are they?
How would you describe Gloucester’s attitude toward his bastard son Edmund? If you were an actor, how would you play Edmund—he does after all hear this dialogue between Kent and Gloucester? How would it make you feel to hear your father laugh about your conception?
When Lear enters, you must visualize (and hear) a scene of great pomp and ceremony. Lear leads the way with long robes, crown, with trumpets sounding—servants bow and his train follow. This sense of order is important now and will be especially important again in Act 5. After this scene, we never witness such order again until that order is restored.
So—Lear says he’s old and tired. He’s usually pictured around 80. Look at his first speech. If this play is to work at all, I don’t think you should see Lear as old & doddering. He may have snowy white hair; he may walk with a cane or a limp; but he must be in control. He must command respect. How is he going to divide his kingdom? What was your response to Goneril’s and Regan’s speeches of their love? Do you believe them? Can love be measured? Now, what about Cordelia? How would have Cordelia played if you were the director? Her sisters? Do you think she should pacify Lear and tell him what he wants to hear or do you admire her for not following the example of her older sisters?
The word nothing is very important in this play. How many times is it used in this scene alone? Remember this: a thing is concrete, it can be seen and/or measured; a nothing is not a thing, therefore, an abstraction—cannot be seen or measured. A nothing does not equal a thing!
How do you visualize King Lear when Cordelia doesn’t play the game? Look at his language—what allusions does he use to refer to himself?
Kent is one of my favorite characters in all of Shakespeare. In addition to being a play about the bonds between parent and child, King Lear is also about the duties & responsibilities between master and servant. Notice how Kent tries to help Lear even if it brings Lear’s wrath on him. When King Lear banishes Kent, what did you think? What will happen to Kent now—this is after all only the first scene—and Kent is a major character?
Lear says to Cordelia: “Here I disclaim all my paternal care.” What does that mean? What was the #1 responsibility a father had for his daughter? What does Lear start to negotiate in line 190 when he addresses the Duke of Burgundy? What does this suggest to you about his announcement that he will not be king any more?
Who chooses Cordelia as his wife? So—she will become what? He states one of the themes of the play when he talks about her. Paraphrase his lines.
Look at the dialogue between Goneril and Regan that closes this scene. What additional information do we learn about King Lear here?

1.2

What do we call a speech delivered on stage when a character is all alone? In this speech of 22 lines, we see on of the major conflicts highlighted. Edmund juxtaposes “Nature” and the “plague of custom”; “legitimate” and “bastard.” What is the essence of this conflict? (Remember: we have probably already felt sympathy for this man because of the way his father talked about him in 1.1. And he is very handsome.)
So begins the subplot. How is Edmund going to get the lands of his father? According to the laws of primogeniture, who should inherit Gloucester’s land? Who is older, Edgar or Edmund?
Once you’ve read the letter, think about the cunning of Edmund’s plan. According to Edmund, why does Edgar think he should have his inheritance before his father’s death? How does Edmund promise to (deceitfully) prove to his father that this letter is accurate?
Look closely at Gloucester’s speech about “These late eclipses of the sun.” Please remember that Elizabethans believed in the Great Chain of Being. Everyone and everything occupied a place in this hierarchy—duty to the one above and responsibility to the one below. If this order (bond of duty and responsibility) was broken, it would be reflected in the “natural” world. Perhaps you’ve heard about the moment in Macbeth when Macbeth kills Banquo—storms where chimneys are blown over and horses turn cannibals—or the eclipse when Julius Caesar is murdered.
What is Edmund’s response to this speech of his father? We would probably agree with Edmund today, but in Elizabethan times, such a speech would make Edmund an atheist and a cynic.
Summarize the plan Edmund puts into place in his dialogue with Edgar.

1.3

Oswald should be seen as a foil of Kent in the master-servant role. Note some time has passed since 1.1 and Lear and his 100 knights are now staying where? What do we learn about Lear and his knights from this exchange between Oswald and Goneril? What does Goneril direct Oswald to do that will surely irritate Lear further? (Please note—who now uses the royal “we” pronouns?)

1.4

Kent is disguised. Disguises on Elizabethan stage were not very elaborate. A change of shirt might well do the trick. The language was what the audience heard and saw.
When Lear enters, what personality trait does he display? What does Kent want to do? One line of Kent’s that is so important—“No sir, but you have that…” Shakespeare must show us that King Lear is or at least has been a worthy and noble ruler. What characteristic does Kent say Lear possesses? Notice the Knight tells us & Lear that he doesn’t think Lear is being treated as he should be. How does he think he should be treated? (Remember what Lear has given away.)
Although Oswald is a butt—and we hate him when we are not laughing at him—he is often played as a rather effeminate dandy—he reflects what the Knight just told Lear. What does Lear expect Oswald to call say he is? What does Oswald call him instead?
Lear strikes Oswald, and Kent trips him. Notice that Lear gives the disguised Kent money for his service. Lear is still paying for a nothing.
Enter the Fool. The Fool is one of the most enigmatic characters you’ll meet in this play. Is he just a court jester? Watch how, through his actions and interactions with Lear, he is a kind and compassionate friend to Lear.
Don’t be foolish and skip over the Fool’s speeches or songs... they are rich with truth and wisdom. Notice the truth in Kent’s statement when he says “This is nothing, fool.” – how true—wisdom is a nothing. Notice this playful banter between Lear, Kent, and the fool. Notice how the Fool sees how “out of order” Lear’s actions were.
Why is Goneril upset with Lear and his knights?
What curse does Lear call down on Goneril? Notice all the animal imagery he uses in cursing her—remember this is his daughter. Also—what would animals be associated with?
One of the most famous quotes from the play is “How sharper than a serpent’s tooth it is…” Have you ever heard it? What do you think of Lear’s attack on her?
Letters are always important in Shakespeare’s plays. What has Goneril written in a letter to Regan?
Notice the beginning of a division between Albany and Goneril. You’ll understand the reason for this politically later.

1.5

Lear also writes some letters. Whom is he writing and who is his delivery boy?
What does Lear fear most? How would you stage this dialogue between Lear and the Fool?

2.1

King Lear said that his purpose in dividing the kingdom was to avoid future strife, but Curan tells Edmund of current impending war. Between whom?
We can think of Edmund as a Machiavellian villain. Why is he so fascinating? Are all villains Machiavellian? Can you think of a contemporary nonconformist who is in some way heroic &/or admirable?
What do you make of Edgar up to this point? How does Edmund betray him and set him up? What is ironic in Edmund’s speech to Gloucester?
Notice Edmund becomes the defender of family bonds. What is parricide? What does Edmund convince his father that Edgar wishes to do? What does Gloucester promise he will do?
Notice how Edmund, Regan, and Cornwall align. These three characters (with the later addition of Goneril & Oswald) make up the evil forces of the play. Shakespeare is very careful in our seeing this alignment. What is it that Cornwall praises in Edmund’s character? But what have we just witnessed in Edmund’s character at the beginning of this scene?
Why does Regan say that she has left her home? Notice she has received letters from two different people—whom?

2.2

I love this scene—hilarious. Look at the two long speeches of Kent (remember he’s in disguise) to Oswald. What would most men do if someone called them these names? How does Oswald respond? Notice what he says about the encounter once he's safe, protected by Cornwall. If you were the director, how would you have Oswald act this scene?
Look closely at Kent’s speech in to Cornwall about Oswald. Notice he says Oswald should not wear a sword because he does not wear what? Pay close attention to what he calls “holy cords”—that is one thing this whole play is about. Then he proceeds to describe Oswald as the perfect sycophant. What’s that? What does Oswald do what while Kent rants?
What does Cornwall accuse Kent of being? How is this assessment consistent with his character?
Notice Cornwall places Kent in the stocks. Kent and Gloucester encourage Cornwall not to do so for the same reason—what is that reason? Why does Cornwall do it anyway?
What is Gloucester doing in this scene? What's his concern?
Look closely at Kent’s soliloquy that ends this scene and the commentary explaining it. Notice another letter—this one is from Cordelia. What's it say?

2.3

Edgar delivers a soliloquy—the whole scene. Lear and Gloucester have something in common: both have rejected loyal children. In 1.1 we saw Cordelia as a loyal, good daughter through her speech, but have we seen those heroic qualities in Edgar? How do we know he’s a loyal, good person before now?
Who is Tom o'Bedlam? Have any commentary in your book about him? Notice the word nothing keeps returning.

2.4

What does Lear have difficulty understanding at the beginning of the scene? Make sure you understand the logistics of the movement of the characters from place to place. Kent summarizes it all to Lear. (Where is Kent in the stocks? Why is he there? Where did Lear come from? Why did Regan and Cornwall come there also?)
Explain the cynicism of the Fool’s first song. What is the rhyme scheme of the song?
How do the Fool’s speeches function in regards to the evil sisters?
Look at the Fool’s second song, reflecting another bond—which one?
What does Gloucester tell us about the character of the Duke of Cornwall? Notice what Lear demands in as the king and as a father. Yet what did Lear do in 1.1 concerning his kingship and his fatherhood?
I feel sorry for Lear in this dialogue with Regan. Notice how he almost begs her to be kind. When he says that he knows Regan will treat him better than Goneril did, do you think he really does, or do you think he's trying to instruct her on how to act?
Look closely at Lear’s speeches. Notice the idea of the bond again. Has he neglected any bonds?
Pay close attention to this bantering back and forth of numbers. Remember Lear first had 100, then 50, then 25 knights, until finally Regan says , “What need one?” Is she right? Notice how Lear still associates love as something that can be measured with numbers.
What shifts in tone and emotion do you notice in Lear's speeches over the rest of the scene?
Notice the weather—a storm rages outside as it rages within Lear. Note who is outside in the storm—these are all the good characters (except Cordelia who is in France (?), and Albany—where his he? have you noted his absence from his evil wife Goneril?) The evil factions are all together now inside—Goneril, Regan, Cornwall, and Edmund. (Well, Gloucester does come back inside, but he will go looking for Lear in act 3.)

3.1

What is a heath?
Don’t forget that Kent is disguised. What does the gentleman tell Kent about King Lear and the storm? Make sure you understand the significance of the gentleman’s comment about Lear’s “little world.”
Kent tells us there is a problem between whom? We have already heard hints of this earlier.
How has France taken advantage of this “negligence”? What does he mean by “our negligence”?
Where is Dover? Why does Kent pay the Gentleman? What doe Kent give the gentleman to give to Cordelia at Dover? Why would Cordelia return to England?

3.2

This scene is kind of a prologue to 3.4 which is the climax of the play when the storm in Lear's mind finally breaks. Remember what Edmund said in his soliloquy in 1.2. Now Lear addresses Nature also, but he calls upon the destructive forces of Nature.
Imagine seeing this play in London at the Globe during the reign of James I. The play would be performed in the afternoon with few sound or stage effects. The audience must rely on the poetry to get the full effect of the storm. Notice how Lear, Kent, and the Fool all mention the elements of the storm throughout this scene. How would we would respond without special effects in our movies?
Who are Lear’s enemies that he wishes to be punished and/or discovered by the storm? Do you see Lear in this scene as being humble or do you see him more as a person wallowing in self-pity? Several times he refers to himself as a victim. Naturally, he could be both.
Look also at the Fool’s speeches. Some of them are somewhat bawdy, all are significant.
Look at line 67—Lear says, “My wits begin to turn.” Notice how kind he is towards the Fool and remember that when you read 3.4 Although Lear is capable of great anger and moments of insanity, he is beginning to notice others and be concerned for someone other than himself.

3.3

This brief scene juxtaposes the loyalty of Gloucester with the treachery of Edmund. Note: Gloucester labels the treatment of Cornwall, Regan, and Goneril toward Lear as unnatural. Then Edmund repeats the word—note the irony in his statements.
What news has Gloucester learned in a letter?
What will Edmund do as soon as he sees Cornwall?

3.4

What is a hovel?
For this play to work, we have to have experienced Lear’s power and dignity, his greatness. Lear is tragic, not merely pitiful. Shakespeare accomplishes that in the language of King Lear. Pay close attention to what Lear says in this scene. While his speeches contain insanity, much of what Lear says shows compassion as well as strength of character.
In 2.3 Edgar disguises himself as Tom o’Bedlam. He then enters a hovel. Kent persuades Lear and the Fool to enter this same hovel to seek shelter from the storm.
Many people see Lear’s speech to the Fool as the turning point of the play. When Lear tells the Fool to go in first, we see Lear putting someone else’s needs before his own. Then comes the most famous speech of the turning point. What happens?
When Lear says he has taken “too little care of this!” What does this refer to? What kind of sentence is “Take physic, pomp;” who and what are Lear commanding? What is meant by “superflux”?
The Fool enters the hovel, sees Edgar (Tom o’Bedlam) and then runs out telling Lear not to enter. Edgar then comes out of the hovel and the remainder of the scene is delivered.
Notice what Lear asks Edgar about the cause of his present condition.
Edgar, the Fool tells us, would be totally naked if it were not for what?
Look closely at Edgar’s speech about what man is when he removes the “trappings” of civilization—when someone is totally “natural”—without the duties and responsibilities that make up the bonds between master/servant, parent/child, and/or king/subject.
Then Lear asks that important question—“Is man no more than this?”. When he recognizes that man is no more than a naked (unaccommodated), forked (the legs) animal, Lear begins to remove his own clothing.
Then Gloucester enters to witness this scene. He says that he will not follow Goneril’s and Regan commands to shut out King Lear.
Notice how Lear refers to Edgar as both a “philosopher” and a “learned Theban.”

3.5

What is the antecedent of “his” in the first line?
Notice the irony of Edmund’s speech to Cornwall.
This scene is very ironic—be sure you’re clear about the irony…
What is Edmund’s new title?

3.6

Once again we must rely on the poetry to tell us where the characters are and what has transpired since the last scene off stage. This scene has Gloucester leading Lear, Kent, Edgar, and the Fool to a farmhouse for safe haven.
Paraphrase the Fool’s speech lines 12-14.
A very unsettling scene—the storm rages, while the audience must try to understand and to see the connections between Lear’s, Edgar’s, and the Fool’s madness. Kent tries hard to inject a rational voice.
Notice all the references to justice. In the Elizabethan mind justice is rational and is a product of the society—not natural man. Man’s natural state is for his own selfish needs; justice transcends the primordial instinct and adds order.
Don’t try to make too much literal sense of this scene—I sometimes think of this scene as an abstract work of art—where the parts are unrelated, but taken as a whole it makes sense. Lear places two stools (representing Goneril & Regan) on trial—his effort to restore order to the broken order of his universe.
While the Fool's last line makes sense in this mad scene, it doesn’t make sense as the Fool’s final speech. He just disappears from the play. I’ll be curious to hear what you think happened to the Fool and why?
Gloucester enters again (notice he moves back and forth between Lear’s group & Edmund’s group), and tells us that there is a plot to kill someone. Whom?
Note that Edgar has some very bizarre and insane lines in this scene, but his madness is only feigned. Notice how overcome with emotion he is at times. Also pay close attention to his final soliloquy. What does Edgar say here about suffering? Do you agree with these observations? Edgar decides to hide for fear of his disguise being discovered.

3.7

Even though the stage will be strewn with dead bodies in the end (Act V), I think this scene is the most violent and painful scene of the play. Modern directors use modern technology to have “eye jelly” spray across the stage. Do you think Shakespeare caters to depraved tastes in this scene? Do you think Hollywood does? Or is the violence here justified in terms of character?
Notice Lear in the scene before seeks justice, but in this scene Gloucester is meted justice. While his sins are great, I always think his punishment (like another father who lost his eyes) is greater than his crime. What do you think?
Why does Gloucester say they (Regan, Goneril) should treat him with more civility?
Notice the irony in Gloucester’s speech in responses to the question why have you sent Lear to Dover. What will be waiting for Lear at Dover?
When Cornwall steps on Gloucester’s one eye, notice how one of his own servants rebels at his extreme cruelty. (This shows how out of order the word is under Edmund, Regan, Goneril, and Gloucester—even a servant shows more compassion.)
Who kills this servant?
What about how quickly Gloucester “sees” once he is blinded? Is it consistent with Gloucester’s character earlier—he certainly did believe rather quickly and with little proof that Edgar was guilty of treachery against his father.
What does it mean when Cornwall says that he has “received a hurt”?

4.1

We are back on the heath—Edgar enters and delivers an important soliloquy about suffering. How would you describe Edgar’s thoughts—can you paraphrase them? Edgar is usually considered the optimist of the play, and he reflects that optimism in this first soliloquy of act 4.
But then a very sad sight enters his field of vision: his father, recently blinded by Cornwall, being led by an old servant. Notice the almost complete reversal of Edgar’s optimism. These lines are delivered in an aside. (What’s different between an aside and a soliloquy?)
Now contrast these lines to the two lines of Gloucester. Many people like the play King Lear because it is often seen as a philosophical treatise into the meaning of life—and I think that is one of the aspects of the play that I found attractive as well.
Anyway, Edgar is engaged by the Old Man and Gloucester to guide Gloucester to Dover. Gloucester tells his disguised son Edgar that he wishes to go to a high cliff [anyone seen the white cliffs of Dover?] at Dover, and he will pay him generously. What does Gloucester imply when he says, “From that place/I shall no leading need”?

4.2

Finally—Albany is on the scene. He very quickly aligns himself with the good characters as he berates his wife Goneril for her cruelty to both King Lear and the Earl of Gloucester—at least the old Earl of Gloucester.
Notice what Oswald says about Albany’s response to what the “evil” characters feel is good news—he responds the opposite—”What most he should like seems unpleasant to him; what like, offensive.”
Pay close attention to what Goneril says to Edmund in her long speech. She pretty much says that Albany is a wimp and effeminate and that she needs a real man—a real man like Edmund. She says that she must now act like the man of the house and let Albany do the womanly chores like spinning. Notice she now calls Edmund by the title of Gloucester since Cornwall has made him the new Earl of Gloucester—don’t let that confuse you. She says that there is so much difference between men, and that Edmund is a real man and that he deserves the “services” of a woman. What does the word “usurp” mean in line 28? Do you understand the full implication of that metaphor?
When Albany enters he is very short with Goneril and condemns for her actions.
Albany’s lines tie in well with the philosophy in 4.1. He says here that the “gods” are in charge of man and that they will make things right. He says that if the gods don’t come down quickly and restore order (revenge these vile offenses done by Goneril, Regan, Edmund, and Cornwall), then people will lose all control and start “prey”ing on each other. That has pretty much already happened, but it demonstrates Albany’s belief in divine justice. Notice how he reinforces this idea when he learns that Cornwall’s servant killed Cornwall when he blinded Gloucester.
At the end of the scene, Albany thanks Gloucester (the old one) for his loyalty to the king and promises to revenge his blinding—who will receive that revenge?

4.3

Why does the King of France return to France, leaving Cordelia in England? Remember that Monsieur La Far is the commander of the French forces and that he will do battle with the armies of both the Duke of Albany and the Duke of Cornwall, even though Cornwall is dead.
We haven’t seen Cordelia since 1.1. Pay close attention to what the Gentleman tells Kent about her reaction to the letters and the news concerning her father. Placing this image in our mind of the compassionate and beautiful Cordelia makes her appearance later in the act even more profound. Is the description of her crying and smiling, but not ranting and raging consistent with what you saw of her in 1.1?
Notice that Kent’s lines mirror Albany’s lines about the gods being in control. What does Kent argue that proves that the gods are “above and govern our conditions”? This belief contrasts so perfectly with Goneril and Edmund’s belief in their own morals and laws. Even though Goneril is still married to Albany, it is quite obvious she is plotting to marry Edmund—neither of them feels any obligation to the “plague of custom.”

4.4

Cordelia is usually seen here dressed in white or very light clothes. She speaks softly, but firmly. She wants the doctor to do all within his power to heal her father. Shakespeare also makes it clear that she—as France—does not attack out of ambition, but out of love to her father to restore the order that has been shattered.

4.5

Remember that Oswald is Goneril’s servant, and Regan here tries to get information from him. We learn that she thinks it was a bad idea to allow Gloucester to live—why? She also worries that something is going on between Goneril and Edmund; she says she has seen Goneril make amorous looks at him. But she reminds Oswald that she is a widow and is freer to marry Oswald—as if that legality means anything to either him or to Goneril. She tries to persuade Oswald not to go to the front lines—she doesn’t want him to take a message to Edmund—and she promises a huge reward to the person who kills Gloucester.

4.6

How do you imagine the fake suicide staged?
Edgar tells Gloucester that he cannot feel the incline of the hill or hear the crashing of the sea because his other senses are dulled because of the pain in his eyes, but we know that the opposite is probably true.
Look closely at the poetry of Edgar’s speech as he described the fictitious scene he sees below. Look at the reason Edgar doesn’t reveal himself to Gloucester.
Most actors change dialect or intonation in the middle of the speech, as Edgar, now playing a different part, finds Gloucester after his supposed fall from the high cliffs. I think it is so beautiful when Edgar says to Gloucester in line 55, “Thy life’s a miracle,” and we cannot help but enjoy the ironies. Note Edgar’s description of the man that was with Gloucester before he jumped. Naturally, he is playing this game and merely describing himself.
King Lear enters dressed in a dressing gown and covered in flowers. He appears almost totally mad in this scene although his speeches are quite insightful. I want you to read and study closely Lear’s four speeches in this scene. Be prepared to paraphrase these speeches—all are important to what Lear has learned. Even though Lear has “turned” and allowed the Fool to enter the hovel before him, you must remember that the forces of evil are still in charge and much of what Lear says reflects a chaotic world.
Who promised Oswald a reward for killing Gloucester? Who stops Oswald here from killing Gloucester? Don’t concern yourself too much with Edgar’s new dialect—he is just arguing with Oswald. Notice how stupid Oswald is—just before he dies from Edgar’s wound, he gives Edgar his purse asking him to do what with his body? And what with the letters?
Notice the letter. The letter is from Goneril to whom? What is she encouraging him to do?

4.7

This is a very tender scene between Kent and Cordelia and Cordelia and King Lear. Notice how much different Lear’s language is in this scene from the loud, raging man to the insane man we have seen in earlier scenes. Remember this tenderness between Kent and Cordelia.
Do you think this would be a good place to end the play when Lear says: “You must bear with me. Pray you now, forget and forgive. I am old and foolish”? Why is Act 5 and all that killing necessary?

5.1

Act 5 is usually short in Shakespearean drama, where plot points are resolved at every turn. The opening dialogue between Edmund and Regan is rather suggestive—but I think it is important to show how “animal-like” the evil characters are. Regan is not concerned that Edmund might love Goneril, only that he has slept with her. I love how Edmund swear to her that he hasn’t on his “honour”—which is as good as saying that he has, considering what we know about his honor!
Albany is going to show mercy on Lear and Cordelia once they have defeated the French forces. Edmund, after Albany’s speech, agrees with him, but we know that he does that only to ensure victory for his side—he definitely still has plans… What does Edmund, the perfect Machiavellian hero, really want?
Edgar enters—remember that he is still in disguise. Remember this letter that he has given to Albany and his request that Albany, if he wins this up-coming battle, sound the herald, and he will answer it. You will see that happen later. Oops—I guess that tells you that the Albany and Cornwall’s army will win—you didn’t think for a minute that Shakespeare would let France win, did you?
Look closely at Edmund’s final soliloquy. What is an “adder”? What does he say will happen to Albany’s planned mercy, once he [Edmund] is in control?

5.2

Shakespearean battle scenes are often brief… but this is exceptionally quick. Don’t be confused by Edgar calling Gloucester “father” in line 1—he hasn’t revealed himself yet. You’ll see that later. “Father” was a term of endearment.
So—Edgar says, wait here, I’m going to fight. Two seconds pass, Edgar enters and tells Gloucester that the army of France has been defeated and that Cordelia and King Lear have been taken prisoner.
What do you think of the ideas in that speech about how the “Ripeness is all.”

5.3

Edmund has captured Cordelia and King Lear and he sends them off to prison to await further instructions. In an aside to a captain, he gives him a piece of paper with instructions on it—although we are never told the contents, we know—to kill Cordelia and King Lear. This dialogue between Edmund and the Captain is pretty obvious.
The part of this section of the final scene that has attracted the most attention is the dialogue between King Lear and Cordelia. The language of Lear is much different from the language we saw at the beginning of the play and even in the middle when he was “mad.” Now Lear has learned what is important in life and his language reflects that simplicity and that love.
Then the fun starts. Here’s Shakespeare at his best—a duel, wrongs addressed and righted, humor, and lots of word play and death. Try to visualize this scene as it unfolds. First Albany congratulates Edmund for his valor in the fight, and then he asks him for his prisoners. When Edmund says he has placed them in prison to be dealt with later, Albany quickly tells him he did not have that authority as an inferior in his army. You must see Edmund grimacing at such a suggestion because he has risen so high—especially in his own estimation.
The banter between Edmund, Albany, Regan, and Goneril is especially rich. For a character to be absent so long in this play, Albany certainly does play a major role here—and I love how he handles the evil trio of Edmund, Goneril, and Regan. I especially find humorous that part about Regan not able to marry Edmund because he is already engaged to marry Albany’s wife Goneril. Albany refers to the banns of marriage—in the English church (and the Episcopal Church today), banns were read several Sundays before a marriage—asking if anyone knows just cause why these two people should not be married, then speak. In other churches, it is part of the wedding ceremony itself.
Remember the letter that the disguised Edgar gave to Albany in 5.1—here is his request. Albany accuses Edmund of treason and challenges him to a duel by throwing down his glove. Then he calls for the trumpets to sound—three times—to proclaim this challenge—and if anyone doesn’t answer, then Albany will fight him. This scene is very interesting when seen on the stage. It is very formal—and even if you don’t know the formality of the tradition—you understand that a great ceremony is happening and that’s what Shakespeare wants you to feel. The tradition and the ceremony are being restored—remember the pomp and ceremony of Act I.i.? Edgar enters in armor, his face covered. When the Herald asks him his name, his response is very powerful. You know that Edmund is going to get what he deserves and that the order will be re-established.
They fight and Edmund falls mortally wounded. What do you think of Edmund’s sudden change of tone and heart? He seems reformed. How? Is it credible to you?
Edgar’s speeches are very important. Look at them. He first reveals himself to Edmund and Albany, and in doing so, reaffirms his belief in justice. Then he recounts to Albany et. al. where he has been and how he helped his father while in disguise. He then recounts how Gloucester died when he revealed himself to him—we are to believe that the old Gloucester died of a broken heart and happiness in being reunited with Edgar.
Here Edmund seems moved and suggests that Edgar still has something more to say. Edgar then tells them of Kent who has also been in disguise and has been following the King as his servant. He tells how Kent came in and fell down with his arms around Gloucester’s neck weeping when they heard the trumpet’s challenge. He left Kent there with his father—now enter Kent.
Then a Gentleman enters to tell us that Goneril has poisoned Regan and now has stabbed herself and both are dead. Albany asks that the bodies be brought in. Edmund says that he was engaged to marry both of them. His line, “All three/Now marry in an instant” is rich with double meaning.
When Kent asks about the King and Cordelia, Edmund says that he wants to do some good, and tells them to hurry—he has ordered their deaths.
Lear enters with the dead Cordelia in his arms. It is a very painful scene. Lear is truly pathetic in this scene; can a tragic character be pathetic? Does he lose his heroism? Or is this pathos beautiful to you? He clings to the hope that Cordelia might be alive, and he tells us that he killed the slave who hanged her.
Lear recognizes Kent—and Kent tells him that he has been his servant disguised as Caius.
Albany explains that he will resign his power as long as King Lear lives. Once Lear dies, Albany then turns to Edgar and Kent and says that they should rule jointly because of their past service. Kent says that he will not rule because he has a journey that he must go on—many people think that he is going to follow the Stoic philosophy and kill himself. Edgar is left in charge. Look at his final lines—they embody some of the themes of the play.
Throughout most of the 18th and 19th centuries, the ending to the play was considered to be too painful, and the ending was modified. In some modifications Lear rules for a couple of years longer, but in one revision, the King of France is killed in the final battle, Lear dies, and Cordelia and Kent marry and rule for many years.
Why does Shakespeare kill Cordelia off? Would the play be more or less satisfying if she survived?