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King Lear is a tragedy written by William Shakespeare. It is loosely based on the mythological Leir of Britain. King Lear, in preparation for his old age, divides his power and land between his daughters Goneril and Regan, who pay homage to gain favour, feigning love. The King's third daughter, Cordelia, is offered a third of his kingdom also, but refuses to be insincere in her praise and affection.[1] She instead offers the respect of a daughter and is disowned by Lear who seeks flattery. Regan and Goneril subsequently break promises to host Lear and his entourage, so he opts to become homeless and destitute, goes insane, and the French King married to Cordelia invades Britain to restore order and Lear's rule. In a subplot, Edmund, the illegitimate son of Gloucester, betrays his brother and father. Tragically, Lear, Cordelia and several other main characters die.

Gloucester's son Edmund resents his illegitimate status and plots to dispose of his legitimate older half-brother, Edgar. He tricks his father with a forged letter, making him think that Edgar plans to usurp the estate. The Earl of Kent returns from exile in disguise (calling himself Caius), and Lear hires him as a servant. At Albany and Goneril's house, Lear and Kent quarrel with Oswald, Goneril's steward. Lear discovers that now that Goneril has power, she no longer respects him. She orders him to reduce the number of his disorderly retinue. Enraged, Lear departs for Regan's home. The Fool reproaches Lear with his foolishness in giving everything to Regan and Goneril and predicts that Regan will treat him no better.

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Edmund learns from Curan, a courtier, that there is likely to be war between Albany and Cornwall and that Regan and Cornwall are to arrive at Gloucester's house that evening. Taking advantage of the arrival of the duke and Regan, Edmund fakes an attack by Edgar, and Gloucester is completely taken in. He disinherits Edgar and proclaims him an outlaw.

Bearing Lear's message to Regan, Kent meets Oswald again at Gloucester's home, quarrels with him again and is put in the stocks by Regan and her husband Cornwall. When Lear arrives, he objects to the mistreatment of his messenger, but Regan is as dismissive of her father as Goneril was. Lear is enraged but impotent. Goneril arrives and supports Regan's argument against him. Lear yields completely to his rage. He rushes out into a storm to rant against his ungrateful daughters, accompanied by the mocking Fool.

Kent tells a gentleman that a French army has landed in Britain, aiming to reinstate Lear to the throne. He then sends the gentleman to give Cordelia a message while he looks for King Lear on the heath. Meanwhile, Edmund learns that Gloucester is aware of France's impending invasion and betrays his father to Cornwall, Regan, and Goneril. Once Edmund leaves with Goneril to warn Albany about the invasion, Gloucester is arrested, and Regan and Cornwall gouge out Gloucester's eyes. As they do this, a servant is overcome with horror and comes to Gloucester's defence, mortally wounding Cornwall. Regan kills the servant and tells Gloucester that Edmund betrayed him. Then, as she did to her father in Act II, she sends Gloucester out to wander the heath.

Oswald appears, still looking for Edmund. On Regan's orders, he tries to kill Gloucester but is killed by Edgar. In Oswald's pocket, Edgar finds Goneril's letter, in which she encourages Edmund to kill her husband and take her as his wife. Kent and Cordelia take charge of Lear, whose madness quickly passes. Regan, Goneril, Albany, and Edmund meet with their forces. Albany insists that they fight the French invaders but not harm Lear or Cordelia. The two sisters lust for Edmund, who has made promises to both. He considers the dilemma and plots the deaths of Albany, Lear, and Cordelia. Edgar gives Goneril's letter to Albany. The armies meet in battle, the Britons defeat the French, and Lear and Cordelia are captured. Edmund sends Lear and Cordelia off with secret joint orders from him (representing Regan and her forces) and Goneril (representing the forces of her estranged husband, Albany) for the execution of Cordelia.

The victorious British leaders meet, and the recently widowed Regan now declares she will marry Edmund. But Albany exposes the intrigues of Edmund and Goneril and proclaims Edmund a traitor. Regan falls ill, having been poisoned by Goneril, and is escorted offstage, where she dies. Edmund defies Albany, who calls for a trial by combat. Edgar appears masked and in armour and challenges Edmund to a duel. No one knows who he is. Edgar wounds Edmund fatally, though Edmund does not die immediately. Albany confronts Goneril with the letter which was intended to be his death warrant; she flees in shame and rage. Edgar reveals himself and reports that Gloucester died offstage from the shock and joy of learning that Edgar is alive, after Edgar revealed himself to his father.

The modern text of King Lear derives from three sources: two quartos, one published in 1608 (Q1) and the other in 1619 (Q2),[b] and the version in the First Folio of 1623 (F1). Q1 has "many errors and muddles".[22] Q2 was based on Q1. It introduced corrections and new errors.[22] Q2 also informed the Folio text.[23] Quarto and Folio texts differ significantly. Q1 contains 285 lines not in F1; F1 contains around 100 lines not in Q1. Also, at least a thousand individual words are changed between the two texts, each text has different styles of punctuation, and about half the verse lines in the F1 are either printed as prose or differently divided in the Q1. Early editors, beginning with Alexander Pope, conflated the two texts, creating the modern version that has been commonly used since. The conflated version originated with the assumptions that the differences in the versions do not indicate any re-writing by the author; that Shakespeare wrote only one original manuscript, which is now lost; and that the Quarto and Folio versions contain various distortions of that lost original. In 2021, Duncan Salkeld endorsed this view, suggesting that Q1 was typeset by a reader dictating to the compositor, leading to many slips caused by mishearing.[24] Other editors, such as Nuttall and Bloom, have suggested Shakespeare himself maybe was involved in reworking passages in the play to accommodate performances and other textual requirements of the play.[25]

Just as the House of Commons had argued to James that their loyalty was to the constitution of England, not to the King personally, Kent insists his loyalty is institutional, not personal, as he is loyal to the realm of which the king is head, not to Lear himself, and he tells Lear to behave better for the good of the realm.[31] By contrast, Lear makes an argument similar to James that as king, he holds absolute power and could disregard the views of his subjects if they displease him whenever he liked.[31] In the play, the characters like the Fool, Kent and Cordelia, whose loyalties are institutional, seeing their first loyalty to the realm, are portrayed more favorably than those like Regan and Goneril, who insist they are only loyal to the king, seeing their loyalties as personal.[31] Likewise, James was notorious for his riotous, debauched lifestyle and his preference for sycophantic courtiers who were forever singing his praises out of the hope for advancement, aspects of his court that closely resemble the court of King Lear, who starts out in the play with a riotous, debauched court of sycophantic courtiers.[32] Kent criticises Oswald as a man unworthy of office who has only been promoted because of his sycophancy, telling Lear that he should be loyal to those who are willing to tell him the truth, a statement that many in England wished that James would heed.[32]

Furthermore, James VI of Scotland inherited the throne of England upon the death of Elizabeth I in 1603, thereby uniting the kingdoms of the island of Britain into one, and a major issue of his reign was the attempt to forge a common British identity.[33] James had given his sons Henry and Charles the titles of Duke of Cornwall and Duke of Albany, the same titles borne by the men married to Regan and Goneril.[34] The play begins with Lear ruling all of Britain and ends with him destroying his realm; the critic Andrew Hadfield argued that the division of Britain by Lear was an inversion of the unification of Britain by James, who believed his policies would result in a well governed and prosperous unified realm being passed on to his heir.[34] Hadfield argued that the play was meant as a warning to James as in the play a monarch loses everything by giving in to his sycophantic courtiers who only seek to use him while neglecting those who truly loved him.[34] Hadfield also argued that the world of Lear's court is "childish" with Lear presenting himself as the father of the nation and requiring all of his subjects, not just his children, to address him in paternal terms, which infantises most of the people around him, which pointedly references James's statement in his 1598 book The Trew Law of Free Monarchies that the king is the "father of the nation", for whom all of his subjects are his children.[35]

In 1843, the Act for Regulating the Theatres came into force, bringing an end to the monopolies of the two existing companies and, by doing so, increased the number of theatres in London.[80] At the same time, the fashion in theatre was "pictorial": valuing visual spectacle above plot or characterisation and often required lengthy (and time-consuming) scene changes.[85] For example, Henry Irving's 1892 King Lear offered spectacles such as Lear's death beneath a cliff at Dover, his face lit by the red glow of a setting sun; at the expense of cutting 46% of the text, including the blinding of Gloucester.[86] But Irving's production clearly evoked strong emotions: one spectator, Gordon Crosse, wrote of the first entrance of Lear, "a striking figure with masses of white hair. He is leaning on a huge scabbarded sword which he raises with a wild cry in answer to the shouted greeting of his guards. His gait, his looks, his gestures, all reveal the noble, imperious mind already degenerating into senile irritability under the coming shocks of grief and age."[87] 006ab0faaa