Despite the three-hundred-year-old debate regarding the lack of unity in the plot of King Lear, it is one of the most readable and gripping of William Shakespeare’s dramas. The theme of filial ingratitude is presented clearly in the depiction of two families, whom circumstances eventually bring together as the two narrative lines converge. King Lear is not only an absorbing drama but a disturbing one. The beauty of diction and the overwhelming pathos of the treatment given to innocence and goodness add to the poignancy of the emotional play. Like all great tragic dramas, the story of Lear and his folly purges the emotions by terror and pity.
King Lear’s first entrance in act 1 is replete with ritual and ceremony. He is full of authority and assurance as he makes his regal way through the ordered court. When he reveals his intention to divide his kingdom into three parts for his daughters, he exudes the confidence generated by his long reign. The crispness and directness of his language suggests a power that, far from senility, demonstrates the stability and certainty of long, unchallenged rule. From that point on, the play acts out the destruction of that fixed order and the emergence of a new, tentative balance.
In the opening scene, Lear speaks as king and father. The absolute ruler decides to apportion his kingdom to his three heirs as a gift rather than bequest. In performing this act, which superficially seems both reasonable and generous, Lear sets in motion a chain of events that exposes his vulnerabilities not only as a king and a father but also as a man. Shakespeare shows that it is foolish to divest oneself of power and responsibility and yet expect to retain the trappings of authority. This is exactly what Lear does when he relies with ill-placed confidence on the love of his daughters. He asks too much and he acts too precipitously, but he is punished by an inexorable universe out of all proportion to his errors in judgment.
When he asks his daughters for a declaration of love, as a prerequisite for a share of the kingdom, he is as self-assured a parent as he is an overbearing monarch. He credits the facile protestations of love by Goneril and Regan because they are what he wants to hear and because they conform to the ceremonial necessities of the occasion. Cordelia’s honest response, born of a greater love, are out of keeping with the occasion. Lear does not look beneath the surface. He lets ritual appearances replace internal reality; in fact, he refuses to distinguish between the two.
The asseverations of Goneril and Regan soon emerge as the cynical conceits they really are, but by then Lear banished Cordelia and the loyal Kent, who sees through the sham. Lear is successively and ruthlessly divested of all the accoutrements of kingship by his...
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