Halfway down
Hangs one that
gathers samphire, dreadful trade!
Methinks he seems no
bigger than his head:
The fisherman that
walk along the beach
Appear like mice.
Although this quote from Shakespeare's King Lear is made by Poor Tom
to his unknowing father Gloucester about the terrain far below them, it
accurately summarizes the plight of the mad king. Lear is out of touch with his surroundings,
riding high upon the wave of power associated with the monarchy: even those
closest to him are out of reach, viewed
with a distorted lens. It is through
this lens of madness that Lear views his friends and family, and thus he is
stripped of everything before he can realize the folly of his judgment. Reduced
to a simple man, Lear is forced to learn the lessons that God's anointed is
already supposed to know. This is the purpose of the secondary characters of
King Lear; they serve to show the many
complex facets of Lear's complex personality, as they force him to finally get
in touch with his self-conscious.
For example, the Fool, oddly enough, acts
as the voice of reason for the out-of -touch King. He views events critically and thus seems to
foreshadow situations that an ignorant Lear is completely oblivious to. This is
evident in act 1, scene 1, when a prodding Fool asks the king if he knows the
difference between a bitter fool and a sweet fool. When Lear admits that he does not, the Fool
attempts to lay it all out in front of
him:
That lord which
councelled thee
To give away thy land,
Come place him
here by me;
Do thou for him stand.
The sweet and
bitter fool
Will presently appear;
The one in motley
here,
The other found out there.
The Fool attempts to show the king the
folly of his ways. He is essentially calling Lear a bitter fool, insinuating
that his foolishness will be the cause of such bitterness. This comment is
taken lightly, but only because the Fool is a satire of the king himself, and
thus is the only one allowed to criticize him.
Lear has a preconceived notion that he will be able to give up all of
his land and his throne, and yet still somehow hold on to the power that he is
so accustomed to.
Alas, the king does not listen. He continues to believe he still has the
power that he has long since conceded. He does not believe that by deviding the
kingdom he has lost both his political and personal power in one fell swoop. It
is not until he is thrown out into the
storm that Lear comes in touch with reality: he realizes the poetic
justice of his words "Nothing will come of nothing", for now he has
nothing; he has systemically been stripped of his power.
GLOUCESTER: O,
let me kiss that hand!
LEAR: Let me wipe it first; it smells of mortality.
It is apparent that Lear is no longer
king. He has abandoned logic, thus he can no longer consider himself God's
anointed. He has finally given up on his
hopes for a world in which he will still be respected after giving away his
money and power; a world where everyone would continue to admire and obey him
as Gloucester does, simply due to the authority that is prevalent in Lear himself, and not his crown.
Cordelia serves as a reminder to Lear of
true love. She takes the abuse of her shallow father, who banishes her for not
being able to flatter him as her sisters do.
It is quite obvious that Lear is most fond of Cordelia, yet he seems
shocked when she cannot speak as daintily as Goneril and Regan. Had Lear been in a proper state of mind, he
would have known that Cordelia would answer as she did, yet when she cannot
elevate him upon a platform for all the others to see, he banishes her out of
humiliation. Nonetheless, she stays true
to her father, not once denouncing him for his foolish actions. Even though she is somewhat aware of her
sisters' intentions, she wishes them well, without incident.
Time shall unfold
what plighted cunning hides
Who covers faults
at last with shame derides.
Well may you
prosper.
Cordelia hints at the true nature of her
sisters' motivation, especially after her dowry is split between them, yet she
does not confront them in the presence of her father, for fear of breaking her poor father's heart. This is yet
another example of the paternal love
embedded within Cordeila's soul, yet the lunatic king is unable to see the
truth within Cordelia's soul.
Once Lear realizes that the love he once
held for his daughters has been debased and twisted, he is too ashamed to speak
with his daughter in Dover. Yet even after this terrible ordeal, Cordelia
dismisses the king's actions, for she truly does love him. Finally Lear can see
clearly, and even though he has no money or power, Lear does not care; he is
content to rot in a jail cell with his daughter. Although her execution seems
unnecessary, she has devoted her life to her father, thus fulfilling her moira.
It has taken the death of his beloved daughter to make Lear realize the truth
to her love, of whom he now says "Gentle and low, an excellent thing
in woman" . Ironically, this is the quality that he
reputed previously in his statement "Nothing will come of nothing" ;
Lear, who had previously viewed Cordelia's silence with disdain, now has
learned the difference between words and
deeds, and considers it to be her greatest feature of all.
This is merely a sampling of characters
who represent the many facets of Lear's personality; it is by no means
exhaustive. While Cordelia teaches her
father a kingly lesson of unconditional and paternal love, one cannot forget
his other daughters, Regan and Goneril, who teach Lear another very lesson
about greed and the hunger for power.
The Fool acts as the prodding, intuitive voice of reason, sparking the
king to think critically if his own actions; yet the lessons Gloucester gives
of pride quite closely parallel the problems Lear has. Kent also plays a vital role in educating
this former king in the disciplines of loyalty and respect, for he is the only
character to stay by Lear's side, even if it means by death. These lessons are
not new to Lear; it is obvious that these qualities have escaped him only after
many years of rule. Nonetheless, Lear finds himself reduced to a mere man and
must now somehow get back in touch with his sanity. It is the subordinate characters in King Lear that help Lear to break the distorted lens of
madness with which he has viewed the world, thereby re-establishing his link to
God, logic, and the throne.
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