Socrates in King Lear

In the essay, Flatulence and Philosophy: A Lot of Hot Air, or the Corruption of Youth, by Willie Young we are discussing the potential dangers of showing children the vial language and themes in the TV show South Park. Parents all around have a fear of having their children exposed to such aggressive and crude behaviour on this TV show. Young however, relates this to Socrates and how the two situations are rather similar.

Socrates makes the claim that a good person cannot be harmed, (Young 7). Which illustrates how Socrates believes that if you provide good for the world and do all the right things you will end up in a good place. After learning this information, it cannot help but remind me of the play King Lear by William Shakespeare. This especially makes me think of Cordelia due to her honesty at all times.

Socrates believes this because he thinks that if you are always doing the right thing in your world then you will end up in a good place. He believes that you can die in peace knowing you were a good person and smart throughout your entire life. Essentially, even if you are killed or pass away, you cannot be scared because you did the best things you could while you were living and will be rewarded for this duty and you will never have harm come to you in any such way.
Cordelia is the character in King Lear in which we see the most loyalty and honesty from throughout the entire play. From the beginning the King is in his castle and about to disperse the kingdom between his three daughters. The daughter who will obtain the most of the kingdom and gain the most power is the daughter who shows that they love their father the most. The other two daughters begin to flatter their father extremely hard and saying very untruthful things in order to gain the most power. Cordelia on the other hand, refrains from saying all these things because she feels that this is dishonest of them to do. As stated, Unhappy that I am, I cannot heave my heart into my mouth. I love your Majesty according to my bond, no more, no less, (Shakespeare 13). This shows she knows she loves her father to a normal amount and does not feel she should over do it. This enhances the idea that Cordelia is a genuine, down to earth person who does not just say things to gain power.

To follow this, she then is offstage for quite some time throughout the play. However, the more she is offstage, the more we see how cruel the other two sisters are. This helps Lear slowly come to realize he did not make the best call. Cordelia and Lear reunite once again and they begin to be happy again and even though they are captured, Lear does not seem to mind because he has reconnected with his daughter. Cordelia is later found dead and due to Lear realizing the truth about her he dies as well, essentially he dies of a broken heart. This is vital information because we have seen the journey they have had to go through and we have seen Cordelia’s loyalty throughout it all. This is why Socrates belief is so accurate in this situation. Cordelia has done well throughout her life and even though she has passed, she should not fear what will happen to her. Cordelia is the best example of Socrates belief, being loyal and honest will always get you far in life and will never fail to make sure you will be unharmed. If one feels as if good has been done my oneself then there should never be a single question in one’s mind that nothing but good can come from no matter where the world may take you. Cordelia should feel accomplished by all she has done and never be afraid.

Character Analysis of Cordelia

King Lear: Character Analysis of Cordelia

In the play King Lear by William Shakespeare, Cordelia is singley the most unique character portrayed in the play. Unlike other characters she is made to be a saint. On the contrary, she shares a few characteristic with her father.

In the beginning of the play when King Lear ask each of his daughters to declare their love for him in exchange for part of his kingdom, Cordelia chooses not to participate in such acts of buying her fathers love. Alike King Lear, Cordelia holds great pride, which is why their is a battle of the prides when Cordelia chose not to express her love because she believes she should not have to say it, he should just know it. Although Cordelia might share common characteristics with her father–King Lear–she does not share similarities with her sisters.

When Cordelia chose to not trade love for power because of her pride, her sisters did not hesitate to go above and beyond to exaggerate just how much they loved King Lear. Ironically, Cordelia was the only daughter of King Lear’s that genuinely loved her father; yet, she was the only daughter to not only fail to inherit part of the kingdom, but to get banned from the kingdom. Not only did Cordelia love her father, she was covertly in love with her father. Signs of Cordelia’s secret love for her father can be seen as she expresses, I am sure my love’s more ponderous than my tongue(Shakespeare 1.1.59-60.) Meaning that she loves her father more than she can put into words. Cordelia shared a strong bond with her father; thus, it makes sense she loved her father so deeply. Right from the start of the play it is obvious that despite having sisters Cordelia doesn’t fit in with them, so instead she made a friend in her father. Cordelia loves her father so much that throughout the play Cordelia only actions are done in order to benefit her father.

When Cordelia returns at the end of the play she had forgotten about her husband and her sole mission was to care for her father even though he recently abandoned her. Despite, being totally abandoned and disowned, Cordelia still wanted to be there for her father. Cordelia states in the play, ‘Tis known before. Our preparation stands. In expectation of them. O dear father, It is thy business that I go about. Therefore great France My mourning and importuned tears hath pitied(Shakespeare 4.4.23-26.) This translates to say that after begging and crying Cordelia convinced her husband to allow her to take the army and she is ready to fight for her father. Soon after, Cordelia went out to search for her father, taking her husbands army with her.

Not many people would drop everything and leave behind their spouse to help someone who abandoned them. Cordelia really did love her father more than anything. Cordelia was a detrimental factor in making the play. Without Cordelia, it would completely change the plot of the play. Cordelia appears only in the first and last parts in the play, yet throughout the whole play she is left in our minds as the good to come. Cordelia is the small piece of good sprinkled in the play. She allows us to foresee good in the dramatic and harsh moments throughout the play. Her character pulls at our hearts in her heroic manner seen towards the end of the play when she strives to save her father and returns to break our hearts at her sad passing that hits us with tears. Cordelia who takes on the role of an sympathetic outcast at the beginning of they play, becomes a strong, heroic individual by the end of the play.

In every play, story, or movie, there is always an underdog who everyone is rooting for, and in King Lear, Cordelia is that underdog. Shakespeare, makes this play whole by introducing her briefly at the beginning, and although we don’t see her until the last part of the play, we are aware of her presence and root for her appearance throughout the rest of the play. Her character keeps both readers and viewers hooked on finishing the play with the hope of her reappearance. Cordelia is a key device in the making of the play. The theme of William Shakespeare’s play titled King Lear is the masculine role of females.

It is simple to view how both Regan and Goneril portray the masculine role of women throughout the play using aggression and power, but the masculine role is less present in role of Cordelia. Cordelia shows masculinity in the leading of the French Army. She did this by revealing her power she held over many men in war. As a woman Cordelia was a unique leader because not many women lead armies into war. Despite the other masculine roles of women that were portrayed in the play, Cordelia was not aggressive or hostile bully; instead, Cordelia took on the role of a heroic and kind gentlemen. Works Cited Greenblatt, Stephen. Norton Anthology of English Literature. 9th ed., vol. 1, W&W Norton & Company, 2012, New York. Shakespeare, William. King Lear. Open Source Shakespeare, George Mason University, 2018, opensourceshakespeare.org.

What Is The Definition Of A Hero ?

Contents

  • 1 Abstract
  • 2 What is the definition of a hero ?
  • 3 Who is the hero in King Lear and why ?

Abstract

The dictionary known definition of a hero is someone that is very well noted for their acts of courage or nobility of purpose, especially one who has put their life at risk / or even sacrificed it . An example of a type of hero in King Lear is without doubt the title character King Lear . King Lear isn’t the type of hero we are used to hearing about , instead he is a tragic hero.

What is the definition of a hero ?

The way a hero is defined in the dictionary is someone that is very well noted for their acts of courage or nobility of purpose, especially one who has put it’s life at risk or even sacrificed it. Not anybody can be given the recognizable title of a hero . A person with the title of a hero is because they are well suited to have been given it. A hero goes out of their comfort zone to help another thing or person in need . A hero thinks more about others than it does about himself or her . A hero saves the day by making a community safer or by coming to the rescue and helping resolve a problem or situation. Heroes are not only seen in movies or books , there are lot of amazing individuals that really go out there and help when something is in need of a hero’s helping hand.

There can be many types of heroes in literacy. The focus on the hero in the play of King Lear is a type that fits the one the hero is portraying throughout the play . The type of hero shown by King Lear is a tragic hero . The requirements for a tragic hero are very different from our original idea of a hero. For a character to be classified as a tragic hero the character must have a high status in its society and must have a tragic flaw which starts the tragedy. The fall caused from the flaws of the tragic hero causes a chain reaction not only linked to him but that affects everyone around. The tragic hero usually must experience suffering and disaster throughout time. This will cause the chaos in the tragic hero’s life and will soon lead up to his death. Following after the tragic hero’s death there will be an appearance of a sense of fear and pity that will make men scared to know the truth , and this will prevent them from further knowing when fortune or something else will happen to them.

Who is the hero in King Lear and why ?

The hero in King Lear is a tragic hero and this person is the main character King Lear . King Lear has all the characteristics needed in order to be classified as a tragic hero . Although there is not really an actual hero King Lear shows another part of a hero . A tragic hero needs to at some point suffer from emotional tension. An example of this is when King Lear says Away let me die.(ACT 4,scene 6 , pg 49.) when King Lear says this it is him experiencing a strong repressed emotion when he admits to Cordelia that he was wrong to get rid of her. Another part is when King Lear says Pray do not mock: me i am a very foolish fond old man. (ACT 4 , scene 7 , pgs. 59-60). King Lear was getting more insight from the misfortunes brought to by Goneril and Regan .

The tragic flaw that a tragic hero has is shown in King Lear by all the misfortunes that happen all caused from cause and effect . These misfortunes happened for a reason . They were the outcome of the tragic hero’s actions and behaviors. When King Lear started to commit bad actions his life went from good to bad fortunes. One of the bad fortunes that King Lear had is that Cordelia could not put her love for him in words. By King Lear having the title of a king that definitely game him a feeling of superiority but he starts to lose this sense and goes mad when he gets kicked out from both Regan and Goneril’s castle. King Lear tries to fulfill his love and belonging needs only from his 2 mean daughters , Goneril and Regan but they both deny him.

This quote shows that King Lear really felt that when he states: Let copulation thrive; for Gloucester’s bastard son was kinder to his father than my daughter’s (ACT 4, scene 6, pgs. 113-114) . Another example of why King Lear is an example of a tragic character is when he states: I fear i am not in my perfect mind. (ACT 4, scene 7, pg.63) This clearly shows King Lear is losing his patience for Cordelia because he did not expect her to say nothing. King Lear gives Cordelia a second opportunity to repeat herself before he starts to punish her for being ungrateful and cruel . The Tragic hero fall is brought upon himself through his wrong judgement and wickedness. King Lear’s biggest flaw is his blinded judgement , also his lack of confidence did not allow him to achieve a good level of self esteem . These quotes and examples all help show why there is in fact a tragic hero in this play .

Archetypes Are Mythologems

Archetypes are mythologems that persist diachronically, that are embedded in the collective unconscious, and that are recurrently manifested in narrative form. They are the constituent elements of what Jung has called autochthonous revival a hypothesis that accounts for cross-cultural fantasy motifs inexplicable in the light of individual anamnesis. Jung had hypothesized these to be the latent vestiges of mental synthesis that existed long before man could verbalize his thoughts.

A Jungian analysis seeks to identify mythologems, toposes, and associated fairy-tale motifs; it also seeks to indicate the aforementioned elements’ articulation with the universals of human deportment and perception. Shakespeare’s King Lear provides four main characters ripe for a Jungian analysis Lear and his three daughters, Regan, Goneril, and Cordelia. An extrapolation of King Lear’s instantiation as an ego-figure of the self, relative to the individuation process is at the helm of affairs; a deliberation on the recurrent literary topos of the number three proceeds, making special reference to the three sisters; and a thought exercise on the importance of Cordelia finalizes the composition. Although these topics are cogitated on a case-by-case basis, it is important to remember that they each relate to a focal subject-matter: the individuation process of King Lear, and his instantiation as an ego-figure of the self.

King Lear’s harrowing descent into madness is a fascinating tale that makes great use of the most asperous of all conflicts in the individuation process. The inchoative psychological disturbance that initiates this process is the King’s inflation of the ego-persona. Lear’s inflation of the ego-persona is evident in these lines: When I do stare, see how the subject quakes. I pardon that man’s life (Shakespeare 4.6; 108-109). This powerful complex, in accord with Jungian theory, is liable to thrust an individual into a sort of liminal journey in search of the self, mining the unconscious in the process.

A probing into the unconscious, by definition, sets one adrift on a sea of the unknown. Analogous to the external barrier that protects the ego from social reality (the persona), is an internal barrier that functions as a permeable stratum betwixt the ego and the dark recesses of the unconscious. Jung called this barrier the anima (in male psychology), and he considered it the bridge to the unconscious. When the anima, a so-called inferior function, is oriented toward the external world, as it is for King Lear, Jung would conjecture that the anima becomes a force of projection, resulting in the projection of intrapsychic archetypal images onto external objects. Identification with the anima leads to an abandonment of the unknown, a dismissal of unconscious images, and overall, a failure to adapt and transcend. The abnegation of the unknown [mytho-psychologically, the Great Mother], increases the likelihood that it will don a menacing countenance in its investable manifestation.

This all bears true for King Lear. As a consequence of his fixation on the anima, a foreboding visage manifests itself in the second scene of act three: Blow, wind, and crack your cheeks! Rage, blow, You cataracts and hurricanos, spout Till you have drenched our steeples, drowned the cocks! You sulph’rous and thought-executing fires, Vaunt-couriers of oak-cleaving thunderbolts, Singe my white head. And thou all-shaking thunder, Strike flat the thick rotundity o’th’world, Crack nature’s moulds, all germens spill at once That makes ingrateful man! (Shakespeare 3.2; 1-9) The nature of King Lear’s anima and psyche, as it is instantiated by his daughters, represents an intriguing paradox for a Jungian analysis.

The great Jungian analyst, Edward Edinger, notes trinities to be dynamic manifestations of the father archetype. The prominent neurologist and psychoanalyst, Sigmund Freud, espoused his views on the nature of trinities in both The Interpretation of Dreams and The Theme of the Three Caskets (the latter, oddly enough, focuses on Shakespeare’s The Merchant of Venice and King Lear), making special reference to the Moirai, the three Fates of Greek mythology. Jung had contributed little to archetypal identity of the trinity, but has limned Gnostic, so to speak, on its fundamental nature. Only a synergistic use of the above-stated paradigmatic frameworks produces a cogent understanding of the functions of the three daughters in King Lear. Edinger’s paradigm would suggest that Regan, Goneril, and Cordelia are all animistic incarnates of the elder, or the father archetype. Jung, as previously noted, limned Gnostic on the subject of trinities, referencing the concept of homoousion, an idea that describes the marrow of a trinity as being generated of the same substance. Edinger and Jung postulate very similar ideas by dissimilar routes of perspective, together discerning the constituents of a trinity as being representative of a distinct wholeness.

Uniting the concepts is the Freudian notion of the Moirai, the three Fates who orient the destiny of man. With the aforementioned background knowledge in mind, the three daughters can now be approached directly. The daughters are indeed dynamic representatives of a distinct wholeness, orienting the destiny of one man; the distinct wholeness can reliably be regarded as the anima, and the man as King Lear. Driving the plot and Lear’s destiny through integration, disintegration, and reintegration, the daughters are indeed orienting forces circumscribing the King, inducing certain behaviors in him and bringing him into confrontations with the unconscious. As a dichotomous model, however, they represent the psyche in either a negative or positive guise. For example, Cordelia disillusions her father’s fixation on the archetypal image of the anima by virtue of her independent will; in turn, the King disinherits her: 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 forever . . . I loved her most, and thought to set my rest On her kind nursery.

[To Cordelia] Hence and avoid my Sight! (Shakespeare 1.1; 111-114 & 121-122) Lear hereafter descended into a deep abyss as a result of the disillusionment of his anima-projection. As mentioned earlier, his identification with the anima reemerges with a foreboding visage. Following all of this, Goneril supplants her father and he is rendered destitute.

However, in the end, Cordelia returns and restores Lear’s consciousness, reflected by Lear’s nonplussed utterance: Where have I been? Where am I? Fair daylight? (Shakespeare 4.7; 53). What is most interesting is the differentiation of his psyche, represented by a dualistic bifurcation of his daughters, who as a trinity reflect a distinct wholeness Lear’s anima. Cordelia can be reliably denoted as the positive instantiation of archetypal imagery throughout King Lear. From a Jungian perspective, Cordelia is the most important character in the entirety of the play by virtue of her role beyond a constituent of Lear’s triune framed anima and dualistically framed psyche. Although it is truly too nuanced an apprehension to thoroughly articulate, in the four scenes which Cordelia makes an appearance, she emanates the traditional qualities of the hero.

William Shakespeare’s Play The Tragedy

William Shakespeare’s play The Tragedy of King Lear is a dark tale of betrayal whose popularity is seen in its many productions and adaptations. The play itself not completely original, in fact, as the main plot and characters are Shakespeare’s versions of the British cleric Geoffrey of Monmouth’s recounting of the story in History of the Kings of Britain. Shakespeare does, however, add other characters to his play that are not in Geoffrey’s version of the story, like Edmund and Edgar who have no direct equivalent in History, but Geoffrey’s influence on these characters are clear..

In the play, there is no mention of Cordelia’s nephews, Margan and Cunedagius, but the roles they fulfill in History match the roles of the Edmund and Edgar. One adaptation of the play, King Lear directed by Richard Eyre, supports the significance of how Edmund and Edgar’s roles in the play correspond to the roles of Cordelia’s nephews. Through the staging of the brothers, how the film chooses to modify and deliver their lines, and how they interact with other characters exaggerates Edmund and Edgar’s influences in the tragedies of the play. The staging of the film King Lear places most of the audience’s focus on the acting and plot of the story, rather than highlighting a specific time or place. It appears that two large rooms are used for all the indoor scenes and minimal, simple props signal a change in scene or location (King Lear).

In addition to this, the film uses the original language of the play but shortens or removes entirely many of the long speeches given by characters (King Lear). These modifications drive the plot forward, as many of the speeches explain the motives of characters’ actions which can sometimes dilute the impact of the actions they are speaking about. The combination of simplistic staging and altered lines leaves the portrayal of the characters the focus of the film, which offers more direct points of analysis between the play and its film adaptation. First, Shakespeare’s Edmund and Edgar have clear connections to Geoffrey’s Margan and Cunedagius. Both pairs are marked by a desire for power beyond what they have.

Cordelia’s nephews feel that because she is a woman, she should not rule, and so they believe they should rule instead of her (Geoffrey 33). Similarly, Edmund is offended that his legitimacy and age cause him to be unworthy of an inheritance, which he believes he is entitled to, though Edgar will receive one because he is legitimate and the firstborn (Shakespeare 1.2.1-23). To gain power, Margan and Cunedagius imprison Cordelia, where she commits suicide (33). While Cordelia does not kill herself in Shakespeare’s play, Edmund does imprison her and stages her murder as a suicide (5.3.303-6). There is also a parallel in the demise of Margan and Edmund. In History, Margan no longer wants to rule with his cousin, so he attacks Cunedagius claiming his right to the throne as the eldest of the two (Geoffrey 34). Cunedagius then bests Margan’s army and kills his cousin himself (Geoffrey 34).

This conflict between the cousins is a story of the victim to the hero for Cunedagius. It is seen in the play when Edmund also attempts to gain control over Edgar, and when Edgar discovers this, he challenges his brother and bests Edmund in a duel in which he dies (Shakespeare 5.3.358). Again, while there is no explicit connection between Shakespeare’s Edmund and Edgar and Cordelia’s nephews in History, there are many parallels. The film emphasizes this important connection. The most noticeable way the film exaggerates Edmund and Edgar’s roles is how they stage these characters. Both brothers are on screen or placed in a scene where they are not specifically noted as being on stage in the play. One example is of the first scene of the play, in which Gloucester, Kent, and Edmund are the first characters to enter (Shakespeare 1.1). The film, however, shows Edgar on screen first, writing in a notebook, while Edmund looks at Edgar from behind with a devious smile, as if he is thinking about his plot against Edgar (King Lear).

By introducing the brothers first, the film suggests that their story is a focus of the play, rather than a secondary story to Lear’s. Their introduction also foreshadows Edmund’s actions against his brother and presents Edgar as an innocent victim. Additionally, the brothers were staged separately in the film in surprising ways, like Edmund noticeably eavesdropping on a conversation when he enters a scene too early at the end of Act 1 in the film. In the play, Goneril and Regan are discussing what they will do with Lear, and when they exit, Edmund enters at the start of Scene 2 (Shakespeare 1.1.329-355).

In the film, Edmund enters while the sisters are still talking, and, thus, makes his first impressions on Goneril and Regan (King Lear). While he does not talk in this part of the film, the way he looks at them is with obvious flirtation, and the film is planting the seed of competition between the sisters early on. Edgar’s unexpected placement is seen less throughout the film, but he is depicted holding Lear as the king dies (King Lear). The film is drawing on the relationship Edgar and Lear fostered while out in the storm together to make their connection stronger than that between Lear and Kent or Lear and Albany, who are both witnessing Lear’s death as well (King Lear).

This connection also suggests a familial bond, which reinforces that if Edgar was Cordelia’s nephew, he would be Lear’s grandson. Even without the connection to Histroy, Edmund and Edgar are prioritized through their placement in the film. As mentioned, the film changes the original lines of the play for primarily functional purposes. There are also modifications of lines that reveal insights about the characters motivations, especially for Edmund and Edgar. One way the film does this is by voicing over soliloquies, treating them as thoughts, rather than the actors voicing them allowed on stage as in the play. An important occurrence of this change is at the beginning of the film when Edmund is talking to Gloucester and Kent.

In the first scene of Act 2 in the play, Edmund expresses his resentment about not inheriting from his father because he is illegitimate and that he will overcome it (Shakespeare 1.21-23). The film places a part of this soliloquy into his conversation with Kent and Gloucester as thoughts (King Lear). The effect of introducing Edmund’s intentions early in the film puts a focus on his character as being the villain of the brothers. Similarly, Edgar’s soliloquy is also voiced over as thoughts in the film when he is leaving the shelter to help take Lear to Dover (King Lear). However, his thoughts contrast Edmund’s because he is recognizing that his grief does not compare to Lear’s [w]hen that which makes me bend makes the King / bow and so comes to a selfless conclusion (Shakespeare 3.6.118-9). Presenting the brothers as opposites in the film by paralleling their soliloquies gives the audience a further reason to think of Edmund as a villain. This prompts their fight at the end of the film and play and supports the rift between Margan and Cunedagius in History.

The way the film portrays the interactions between Edmund and Edgar and other characters also maintains the brothers’ importance to the plot. Further support for the concept that Edmund is evil while Edgar is innocent can be seen in their first interactions and their clothing. Though it is stated that Edgar is some year elder than [Edmund] in the play (Shakespeare 1.1.20), the film makes no such explicit distinction, though Edmund behaves as if he is older (King Lear). This show of age difference is seen in Edmund’s pretend concern for his brother when he warns Edgar about their father’s anger at him as if he is playing a protective, brotherly role (Shakespeare 1.2.166-9). In this scene, Edmund is wearing dark clothes and has short, dark hair which heavily contrasts with Edgar’s loose, white shirt and long hair (King Lear). The audience can see visually how different the two are on the outside which corresponds to their motives and actions in the whole film.

Aside from the actions with each other, Edmund and Edgar’s interactions with other characters seem to be prioritized in the film. One important instance of this is toward the end of the film, what is the end of Act 4 and the beginning of Act 5 in the play. In the last scene of Act 4, Cordelia and Lear reunite for the first time after her moving to France (Shakespeare 4.7). The scene before is Edgar killing Oswald and discovering the plot to kill Albany (4.6). However, the film skips the scene with Lear after Edmund’s scene and goes directly into the first scene of Act 5 in which Edmund promises his love to Regan (Shakespeare 5.1.9-20).

This second occurrence of Edmund and Edgar’s story being placed before Lear’s story is further evidence of the importance the film places on the brothers’ story. The audience is shown that Edmund and Edgar are not only important but just as important as the title character, King Lear. Overall, the film makes deliberate changes to situate Edmund and Edgar’s story as one of the main focal points of the movie.

The influence of Cordelia’s nephews in History on the brothers in the play is also clear. Shakespeare’s integration of the brothers into the story of King Lear, as opposed to placing them at the end like Geoffrey’s Margan and Cunedagius, adds another dimension of betrayal and tragedy to the play. In the end, the film and play both point to Edmund’s final confession: What you have charged me with, that have I done, / And more, much more (Shakespeare 5.3.195-6). Thus, the audience is to believe that Edmund has done more harm than the characters know, and more than the audience knows themselves.

Power Has Many Definitions

Power has many definitions, but in King Lear, power seems to be defined as one’s ability or capacity too direct and influence others as well as the current course of events. Power is incredibility corruptive and this is proven many times over by the main characters of the play.
King Lear serves as an excellent commentary on the nature of political power, while also showcasing a brutal portrayal of authority when it goes wrong.

The play does a great deal of reflecting on how the nature of power affects individuals as well as larger groups. The play showcases time It must be noted that both King Lear and Gloucester both consistently turn away or ignore the individuals who have the best intentions for them. They are so afraid of losing their dominance that they both mistrust their most loyal children. Their power has made them increasingly blind to the people they surround themselves with; King Lear’s oldest two daughters clearly have no love for him and scheme to take his power, yet the two most trustworthy people in his circle, Cordelia and Kent, are treated with scorn and punished.

Lear has become pompous and shallow in his time as king, and obviously prefers flattery to honesty. This seems to be a common side effect of unchecked power, and this is without a doubt King Lear’s undoing. He is unable to understand what really matters and values the fake flattery of his bad daughters over the honesty of his daughters, which ends up causing chaos for himself, his family and the rest of Britain. King Lear’s fear of losing relevance and authority ironically creates a self-fulfilling prophecy, and his own actions result in his downfall.

Power is shown many times throughout the play to be incredibly corruptive. Gloucester’s title and power are largely responsible for the rift between him Edmund. He feels the need to distance himself from Edmund because he is a bastard, and he consistently reminds Edmund of that fact. Power makes Gloucester put his power above his family, and this results in tragedy for all. Gloucester was blind to his faults, and because of his blindness he was eventually actually blinded in an ironic, terrible twist of fate. Had Gloucester loved and treated his bastard son the same way he loved and treated his legitimate son Edgar, much of the tragedy that took place in the play could have been avoided.

The play leads us to understand just how much wickedness in people power inspires. Edmund starts out as a character who inspires sympathy, but quickly becomes one of the play’s leading villains in his hunt for recognition and authority. Edmund is not a villain at first, but we are clearly show how easily the hunt for power leads to betrayal, and how easily is can affect one’s character. Goneril and Regan’s are villains from the start of the play, but their thirst for power transforms them into actual evil beings. The sisters go from simply scheming to steal parts of their father’s kingdom to planning war against other countries and actual murder. Goneril murders her own sister in her quest for dominance, and this is probably the harshest example in the play of the wickedness of power.

One of the most important lessons that can be taken from the play is the finality of mistakes. King Lear sets the stage for his demise at the very beginning of the play; he banishes the only daughter that truly loves him, and gives all his power and his kingdom to his scheming evil daughters. Gloucester also has a hand in his own untimely end, as his continued alienation of his bastard son causes bitterness in his son, leading Edmund to betray his family.

Even at the end of the play mistakes ring with finality, when Edmund wishes to make up for his wrongdoings and save Cordelia, but the girl has already been put to death. King Lear is a classic example of the corrupting potential of power it’s downfalls. The majority of the characters that come into some sort of power meet their ends, often orchestrating their own demises in their attempts to gain authority. King Lear raises many important questions about power and its nature, but one thing is clear: the definition of power is flexible, but the reality of it is not. Power is not a tangible object; it only has the weight that it is given. Power is what you make it and nothing more.

Shakespeare’s Major Theme in King Lear

Contents

  • 1 Compassion in Tragedy: Shakespeare’s Major Theme in King Lear
  • 2 Works Cited:

Compassion in Tragedy: Shakespeare’s Major Theme in King Lear

Albert Schweitzer once said that The purpose of human life is to serve, and to show compassion and the will to help others. Compassion is feeling sympathy, being kind, and caring for others. In William Shakespeare’s play King Lear, an important theme is that it’s important to show kindness to others, even in difficult times.

Shakespeare demonstrates this theme through King Lear’s conversations with his daughters, especially the youngest, Cordelia, and his conversations with his friends. King Lear follows the story of an aging king and his daughters as he gives up his throne. The majority of the play focuses on Lear’s descent into madness at the cruel hands of his daughters Regan and Goneril, and concludes with their death and Lear’s reconciliation with his other daughter Cordelia. Along the way, Lear’s interactions with his friends and daughters show the audience the power of compassion.

King Lear’s daughters are a primary example of Shakespeare’s demonstration of this theme. Very early in the play, after Lear has divvied his kingdom up between his daughters, his noble advisor Kent attempts to persuade Lear that he’s judged his youngest daughter Cordelia’s love too harshly. Answer my life my judgement, thy youngest daughter does not love thee least, nor are those empty-hearted whose low sound reverbs no hollowness. (I, i, ll. 151-153). After the false, flattering words from his daughters Goneril and Regan, Lear’s inability to see that Cordelia’s love was too great to be put into words caused him to lose his daughter and his advisor Kent, who was exiled when his compassion caused Lear to become furious at him. Kent knows his attempt to show the king how to fix his relationship with honesty and compassion will cost him his title, his status and Lear’s trust, yet he does it anyway.

Eventually, Lear tries to mend the rift he’s caused with Cordelia. Be your tears wet? Yes, faith. I pray, weep not. If you have poison for me, I will drink it. I know you do not love me, for your sisters have, as I do remember, done me wrong. You have some cause; they have not, King Lear says in Act 4, Scene 7 in lines 69 to 73 as he apologizes to Cordelia when he realizes he was wrong and misjudged her. Cordelia’s response, No cause, no cause, (IV, vii, ll. 74) shows her continued love for her father, as is also demonstrated in Act 4, Scene 3, lines 25-30 Faith, once or twice she heaved the name of father’ pantingly forth as if it pressed her heart, cried sisters, sisters!

Shame of ladies, sisters! Kent, father, sisters! What, i’ th’ storm, i’ th’ night? Let pity not be believed.’ There she shook the holy water from her heavenly eyes, and clamor moistened. Then away she started to deal with grief alone. Despite being banished by her father, she still loves him and grieves for him. Her love resonates throughout the story and she is the only character to stand by Lear after he has lost everything – his crown, his mind, and his cruel, oldest daughters.

Regan is one of those cruel older daughters, and very early on in the story she shows the audience her cold heart. …Shut up your doors: he is attended by a desperate train, and what they may to incense him to, being apt to have his ear abused, wisdom bids fear. (II, iv, ll. 348-351). Her husband Cornwall responds with Shut up your doors, my lord. Tis a wild night. My Regan counsels well. Come out o’ th’ storm. (II, iv, ll. 351-353). Not only does Regan force her father out into a dangerous storm, she locks the door behind him as well. Cornwall, and especially Regan, show no kindness to Lear throughout the entire story, even though he is Regan’s father and their former king. The drastic consequences of this lack of kindness towards Lear eventually cause the deaths of both Regan and her husband, as Cornwall is murdered in a duel by Lear’s friend and Regan is poisoned by her jealous sister Goneril. They would never have started fighting unless Lear had driven a wedge between them with the division of the kingdom.

Goneril, Regan’s older sister, also shows no compassion for Lear. Gloucester, a friend of Lear’s, tells Regan that I would not see thy cruel nails pluck out Lear’s poor old eyes, nor thy fierce sister in his anointed flesh stick boarish fangs. (III, vii, ll. 55-57). Regan’s nails are described as cruel, and Goneril’s boarish fangs depict her as a savage animal who shows mercy and kindness to no one, not even her own father.

Regan and Goneril were each given half the kingdom by their father, and ruled over it for a short period of time; however, at the end of the play, Goneril poisons Regan and kills herself. This commentary by Shakespeare shows the audience that while cruelty and anger may initially get you farther than compassion, kindness will be better for everyone in the end.

In addition to his daughters, Lear’s friends are among the other characters who demonstrate Shakespeare’s theme of compassion throughout the story. In Act 3, Scene 4, Lear, whose mind is quickly deteriorating, asks Kent, Wilt break my heart? Kent, who remained undyingly faithful to the aging king, replied with I had rather break my own. (III, iv, ll. 4-5). The dedication, loyalty and empathy towards Lear that Kent demonstrates through the entire play show the audience the strength of Kent’s love towards the king, even after the king banishes him early in the story. The adoration that Kent has for King Lear reveals his strength of character and loyalty to the king, as not many people could continue to love and help someone after they have been mistreated by that someone the way Kent was.

Just a bit later in Act 3, Scene 4 during lines 23 to 27, Lear shows his own compassion for one of the first times in the play. Prithee, go in thyself. Seek thine own ease. This tempest will not give me leave to ponder on things that would hurt me more. But I’ll go in. (To Fool) In, boy. Go first. You houseless poverty- nay, get thee in. I’ll pray, and then I’ll sleep. His telling the Fool to go in ahead of him and make himself comfortable shows how he is putting his dear servant before himself, even in the depths of his madness. His treating a servant better than himself, a former king, shows how much empathy Lear has gained throughout the story.

Several scenes earlier in the story, Lear realizes how uninformed he was when he says Poor naked wretches, whereso’er you are, that bide the pelting of this pitiless storm, how shall your houseless heads and unfed sides, your loop’d and window’d raggedness, defend you from seasons such as these?

O, I have ta’en too little care of this! Take physic, pomp; expose thyself to feel what wretches feel, that thou mayst shake the superflux to them, and show the heavens more just. (3.2.65-71). He’s feeling for the first time what it’s like to struggle and be poor, and he wishes, now that he knows what the poorest people go through, that he had done something more about it while he was king. It took losing his power and his mind to make Lear realize that he could have done something to help these people, which is Shakespeare’s way of telling his audience that they should always try to better others’ lives, even if they don’t fully understand what others are going through until they experience it themselves.

The theme of It’s important to show kindness to others, even in difficult times is heavily implied throughout Shakespeare’s King Lear, demonstrating why caring about other people is valuable. His quiet, loving daughter Cordelia’s love is explained by Kent after Lear banishes her, and Lear later apologizes to Cordelia, mending their relationship after a period of argument. His other daughters, Regan and Goneril, end up dead after they show no kindness to their father. Even Lear’s own compassion was demonstrated through his sympathy for the Fool in his wild madness. Kent, also, showed great kindness to Lear despite Lear’s hatred of him. Throughout the story, Shakespeare demonstrates that we should always try to be kind even when bad things may be happening in your life. After all, according to Albert Schweitzer, the meaning of life is to show compassion to others.

Works Cited:

Shakespeare, William. King Lear. Trans. John Crowther. Spark Publishing, 2003.

One Of The Greatest Poets

William Shakespeare one of the greatest poets was around during the renaissance. He was born on April 23rd 1564 and died April 23rd 1616 at the age of 52. He has wrote 37 plays and about 154 sonnets.

Shakespeare was born to John Shakespeare and Mary Arden, he was the third child out of six they would have. His father was a high placed official it was kind of like he was the mayor. Since shakespeare’s father was in that position, he got to go to school without having to play the tuition. At the age of 18 he was married to Anne Hathaway, they had three children together. Susan was the oldest judith and hamnet were twins. But unfortunately Hamnet died at the age of 11 the cause of his death is unknown. In shakespeare’s life there are seven years that have not been documented. The play was written from the legend in england. The play is kind of in the medieval times.

The text is organized form the different parts of the play. The play consists of 5 parts and 3 scenes in total. Since its a play there is no chapters. While reading some scenes will go on with the previous or they will go to another place with different people leaving no part left out to where a person will get a better understanding. The plot/storyline would have to have something to do with how king lear disowned the daughter he actually really truly cared about, then his other kin try to get rid of him and he wanders around lost trying to find the daughter he disowned. But there is not just one plot to king lear there are multiple. Having one being someone trying to blame a death on a person when they were not in the area at the time.

Another is is trying to take over a kingdom for their own needs. The play doesn’t tell the reader exactly how much time is passed, but the reader can infer that it goes on to be 2 week or more which the play passes through. The beginning starts out with being in the palace of King Lear, with three characters talking about how king Lear felt about the Dukes. And it goes into asking gloucester that one other they were speaking to/about was his son. Having him say yes he is of my kin. The ending is when King lear passes away from the grief of his daughter dying. Also Kent and Albany talk about grieving for the losses that have just occured.

The narrative POV of a play is called the dramatic point-of-view, or fly on the wall. They say this because it’s as if the narrator would be a fly on the wall only watching what takes play in that scene but could add no comment to what’s going on. The whole play is written in a recent perspective. For the play the narrator is more observing. The play does not shift to different narrators,there is only one. The effect the author takes is that he does not leave any stone unturned and while you read you feel the emotions of the characters. The certain words that the author uses to where you can feel the emotions. It is as almost that you start to feel as you yourself are there. There is a lot of emotions that you can relate to and the feelings of having lost someone too. The purpose of this play would be so we could get a more complex understanding of emotions and the legend in history.

Contents

  • 1 Round characters :
  • 2 Flat characters

Round characters :

King lear- round, the king has two daughters more or so likes when they daughters practically worship him. Only really loves cordelia but got mad when she said she could not tell him how much she loved him. Dies from grieving for his daughter Cordelia at the end of the book. About in his late 50s.

Cordelia- round, youngest of all three of Lear’s daughters, gets disowned because she wouldn’t tell her father how much she loved him, was suppose to marry the price of france, he still weds her even without the money of getting for marrying her, marries her because supposedly he loves her, ends up getting executed at the end of the play. About at least 18 years old.

Goneril- Round, the eldest of the daughters, she wants to rule and get the kingdom, has an affair even tho she is already married, is very jealous because her younger sister is loved by the king more, when her younger sister gets disowned and is told to leave she sees it as a way to start with her plan and try to take over the kingdom. One of the villains in the play. About in her late 30s early 40s.

Regan- Round, the second eldest of the sisters, also having an affair with the same due her sister is doing, also married wants the guy all to herself though is very very jealous. She’s more concerned tho with over throwing her father to take over england as the ruler. One of the villains in the play. About 36 to 40 years old .

Gloucester- Round, is the earl to the king, cheated on his wife to where he had a bastard son which makes him have a crime against adultery, does have a son that is with his wife, seems like a coward doesn’t really know which of his sons he should actually trust, starts going down the wrong path, is the reason why king lear gets removed from the castle. At almost the end of play he starts to show that he is brave in some sorts of ways. About 55 years old or older.

Edgar- Round, the real son of gloucester,takes on many different characters throughout the play. Despite having him portrayed as someone who believed his other brother that he was the one that did the crime, decides to be someone who ends up at the aid of his father and king lear, acts like he’s a knight during a certain point in time, but being all these different characters you could qualify him as a whole lot of things and they don’t really the real characteristics of him. About 26 years old.

Flat characters

Edmund- flat, A kind of villain in the play, hates that he is a bastard child and he hates his father wants to take everything that his dad has, does a lot of tricks towards people in the play that usually end up working, messes with a lot of the characters. About 21 years old.
Kent- Flat, he’s a noble that is very loyal to the king, even tho the king banishes him he disguises himself as a peasant, hes keeps on helping king lear throughout the play but gets in trouble a lot because he’s very straight forward with everything he says and does. About 25 to at least 30 years old.

Albany- Flat, very kind person has a great heart tries to expose his wife her sisters husband and her sister because of what they are trying to do, is tired of how his wife treats him so cruel, his allies are actually trying to work against him but he does not realize any of that until its way too late in the play to do anything about it. About 46 years old.

Cornwall- Flat, he’s a very bad man who is really mean and very very cruel to people, he helps with their plan to take the kingdom and rule over it, they are all trying to get king lear and his earl prosecuted for something they did no do at all. About 40 years old.

The Fool- Flat, is the one who always talks to king lear , always trying to bring up the mood making jokes and new songs he can sing throughout the play is loyal to the king. About 16 years old.
Oswald-Flat, obeys his mistress despite anything he gets told to do, he is more of like the manager to all of the servants in that household is very close to goneril is her servant. Kind of like a steward in a way. About 57 years old.

The settings of this play takes place in England, mainly around Britain. To understand why it would take place here is also the fact that is is based off of a legend that happened to be in england. Usually Shakespeare would put the settings where it came from. But also shakespeare came from england so in a lot of the plays he had written he would base them off of it or the surrounding countries like Scotland.

In Shakespeare’s King Lear

In Shakespeare’s King Lear, Cordelia and Edgar are both characters that are undervalued and underappreciated by their parents, leading to their unconstituted banishments. Both offspring have similar unjust terms and non confrontational reactions to their exiles however they slightly differ in their extremities to the situations presented and their symbolic commentaries on human nature in the play’s conclusion.
To begin, both Cordelia and Edgar are unfairly banished by their parents due to their figureheads blindness along with their dishonest and corrupt siblings.

Cordelia, for example, is promptly banished after not expressing her love for her father in an acceptable way. When her and her sisters are asked for a profession of their love to Lear, Goneril and Reagan both give lavish, affectionate speeches to their father, stating that they love him more than their own eyesight, ringing false from the start. However, when Cordelia is asked, she responds with the simpleton answer, Unhappy that I am, I cannot heave / My heart into my mouth. I love your majesty / According to my bond; no more nor less.” (1.1 90-2). Lear feels humiliated and outraged by Cordelia’s unflattering response and immediately banishes her for not expressing her love in the ego-stroking way her sisters had;

For we have no such daughter, and will never see the face of her again (). Here, Lear is morally blind to his two other daughters artificial and fanatical approbation, refusing to see their underlying, corrupt motives. Cordelia simply refuses to flatter her father in the excessive way her sisters had, causing Lear to turn a blind shoulder to the daughter that actually loves him, and instead reward those who clearly only use him for his wealth and power. Edgar also is subject to unjust treatment from his family. Although Edgar has done nothing to constitute suspicion in the past, when framed by his bastard brother Edmund, Gloucester, their father, immediately believes a forged letter stating that Edgar was planning on killing him.

This leads Gloucester to promptly try and hunt his son down after he runs away due to Edmunds deceitful tactics; Pursue him ho! Go after. (2.1.266). Here, Gloucester fails to dwell into the issue deeper and examine the actual circumstances, with him instead blindly follow his first, insufficient piece of evidence. Gloucester’s blindness to good and evil coupled with Edmunds sibling betrayal mirrors Cordelia’s terms of banishment. Thus, both characters are subject to unjust treatment from their families, resulting in their similar means of banishment.

To continue, both Cordelia and Edgar go about their banishment with humble, yet varied actions. Cordelia, for example, after refusing to play Lears game of flattery, is ordered away by her father, leaving gracefully; Thou hast her, France: let her be thine; for we have no such daughter, nor shall ever see that face of hers again// Use 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.

So, farewell to you both (1.1.322). Here, Cordelia reacts to her unfavorable circumstances with her head held high. She walks away humbly, even showing a last minute appreciation to her banisher before walking out unconfrontationaly. Edgar also reacts to his exile in a humble way, but much more intensely than Cordelia. After being banished and hunt down by his father, Edgar disguises himself as a poverty stricken beggar named Poor Tom. He vows to, grime with filth (my face), blanket my loins, elf all my hair in knots, and with presented nakedness outface (2.2.180-183). By taking on a beggars persona, Edgar sheds his nobility. He even goes as far to say that he is nothing; Edgar I nothing am (3.2.21). He completely strips his identity, literally and metaphorically, reducing himself to a state of nothing. Therefore, both Cordelia and Edgar take their banishments with different degrees of humility.

Although both characters have similar terms of banishment and reactions, Cordelia and Edgar differ in their overall commentary on human nature. After Goneril and Regan betray Lear, Cordelia reflects on her love for her father, saying, “O my dear father, restoration hang thy medicine on my lips, and let this kiss repair those violent harms that my two sisters have in reverence made.” (5.2.26-29). After her treatment, Cordelia could choose to be bitter towards her father, however here she instead expresses sorrow and love towards him. This shows how Cordelia is a symbol of the goodness of human nature. Cordelia at the end of the novel also dies alongside her father, showing how goodness is not always rewarded, and that the universe is indifferent due to her being pure but dying regardless. On the other hand, Edgar represents the human will to live.

He is completely stripped of his title and nobility when he is degraded to Poor Tom, but later becomes the champion of the play by killing Edmund and becoming one of three throne holders alongside Albany and Kent; All friends shall taste the wages of their virtue, and all foes the cup of their deservings (5.3.366-368). Here, Edgar rises up from his once completely dehumanized state to a position of great power. The man was defeated over and over again with his father banishing him, becoming Poor Tom, and having Gloucester fail to recognize him, however he rose out of his seemingly hopeless circumstances, showing the determination of survival in human nature.

Both Cordilia and Edgars commentary is still applicable today due to Cordelia’s consistent goodness from the beginning to end of the play and her ultimate defeat along with Edgars growth as a character both in personality and power. Thus, Cordelia represents the hopelessness of an indifferent universe no matter how good peoples nature is while Edgar represents the human will to live and prosper.

The Connections In Shakespeare’s

Over the course of the years, all through society, the job of guardians in life is to be the parental figures and defenders of their youngsters, while the job of youngsters is to regard their folks and offer back to them when the two youngsters and guardians become more seasoned. As youngsters develop more seasoned they turned out to be more free and can think about themselves as well as others. At the point when guardians become more seasoned, the rights and obligations of youngsters and parents switch.

After kids develop and gain the freedom to live without anyone else, it is their responsibility to think about their maturing guardians. At diverse occasions, guardians and kids owe each to her in equivalent adds up to express gratitude toward each other for bolster all through life.

The connections in Shakespeare’s play King Lear change all through the play as parent-child connections and love craftsmanship at one outrageous and end at the other. All through the play, guardians understand the genuine feelings that every kid has for them, and discovers which tyke genuinely cherishes them the most. King Lear and Gloucester find out the most difficult way possible that the youngsters they trust the most and the kids they trust love them the most are the ones that double-cross their dads in the end.

In the primary demonstration, the fundamental plot starts as a father-daughter relationship between King Lear furthermore, his most youthful little girl, Cordelia, winds up uneven. King Lear cherishes Cordelia the most out of his three girls, and needs to give her the biggest bit of the kingdom. Before long, Lear alters his opinion after she answers his inquiry about affection. Whenever Lear partitions up his kingdom, he isn’t happy with Cordelia in light of the fact that he is convinced that she cherishes him the slightest. Lear inquires that Cordelia protest the amount she adores him, and she doesn’t have anything to say at first. At last, after she pulls her considerations together, Cordelia responds,you have begot me, bred me, loved me. I return those duties back as are right fit, obey you, love you, and most honor you…Haply, when I shall wed, that lord…shall carry half my love with him…I shall never marry like my sisters, to love my father all. (King Lear, pg. 7, line 98-103).

This shows that Cordelia still loves her father, despite the fact that she holds some portion of the adoration in her heart for her father and the other piece of love to the man that she will wed. From this answer, King Lear winds up troubled with his most youthful girl and gives does not give her a segment of the land. Cordelia refutes Lear and demonstrates a demonstration of love and gratefulness towards her dad when, out of Lear’s three girls, Cordelia is the one that takes Lear in amid a period of assistance.

King Lear in the long run ends up destitute and need shield. In the same way as other guardians, King Lear goes to his youngsters for help. By his astound, neither Goneril nor Regan is eager to encourage their dad and give Lear protect for the time being. At the point when Lear approaches Regan for nourishment and shield, Regan declines and answers, Good sir, no more. These are unsightly tricks. Return you to my sister (King Lear, pg. 60, Line 156-157).

This shows Lear that once he gave Regan a piece of his kingdom, she acknowledged the land, and after that double-crossed him. After Lear leaves Regan’s kingdom, he goes to his oldest little girl for help. Astonished by and by, Goneril does not encourage her dad and give him nourishment or haven. When Regan and Goneril both tell Lear to leave their kingdoms, Lear soon understands that Regan and Goner did not cherish him, yet rather, they wanted his property. Both little girls realize that the best way to get a vast sum of land is to tell their dad that they adore him more than anything in the world. In the wake of asking both Regan and Goneril, King Lear has no decision however to approach Cordelia for help.

At the point when Lear discloses to Cordelia that he needs sustenance and asylum, Cordelia encourages him promptly. Cordelia gives King Lear a meal to eat and a place to rest. Through this liberality, Cordelia demonstrates to Lear that she is truly the girl that cherishes her dad the most. Out of the three young ladies, she is the main little girl that, whenever, is willing to take in her dad when required, and help him. Cordelia does this since she genuinely adores King Lear for who he really is. Since King Lear raised Cordelia well all through her adolescence, she feels that restricted to pay him back is to regard him and help him at whatever point required.

As the sub-plot starts, Edmund demonstrates his dad a letter that he found about arranging Gloucester’s demise, and claims that the letter is composed by Edgar, when truth be told, it is composed by Edmund himself. When Gloucester breaks down the hand writing in the letter also, questions Edmund about Edgar’s conduct, Gloucester persuades himself that Edgar, his own child, plans to slaughter him one day to acquire Gloucester’s riches and kingdom. Gloucester isn’t satisfied with this letter of murder and ends up troubled with his child, Edgar. To exacerbate the situation and set up Edgar, Edmund discloses to Edgar that Gloucester is distraught at him and tells Edgar, If you do stir abroad, go armed. (King Lear, pg. 22, Line 183). Edmund sets up Edgar this way supposing that Gloucester sees Edgar with a sword each time Gloucester and Edgar meet, Gloucester will turn out to be more persuaded that Edgar is out to slaughter him.

As the play proceeds with, Gloucester discovers reality about the letter. At his ch??teau, Gloucester is physically hurt as Cornwall, Goneril, and Regan cull out Gloucester’s eyes. As it were, this physical mischief can be associated with the letter that persuades Gloucester that Edgar needs to kill him. Culling out Gloucester’s eyes can make the homicide more convincible since Gloucester may trust that his own child, Edgar, designs out this physical agony that is being done to Gloucester.

Gloucester before long understands that Edmund misled him and it is truly Edmund that composed the letter. After Gloucester’s eyes are culled out and he ends up blinded, Edgar is the child that winds up thinking about Gloucester. This demonstrates Gloucester made the wrong presumptions about his two children and that Edgar thinks about his dad. At the point when Gloucester requests to be raised to the most astounding mountain, Edgar does as such and tells Gloucester when they achieve the highest point of the mountain. He reveals to Gloucester that the divine beings don’t need Gloucester to kick the bucket, and that Thy life’s a miracle, (King Lear, Pg. 112, Line 55) implying that Edgar is inspired by the manner in which his dad endure the eye culling. Through this announcement, it is clear that Edgar is the great child that really adores his father and does not have any desire to see his dad kick the bucket. Since Gloucester holds much love for Edgar, Edgar wants to help and secure his dad when Gloucester is in agony.

In the Shakespeare’s play, King Lear, not all children are there for their fathers when required. However, the ones who do encourage their fathers, make the best choice, and for a comparative reason, love. Cordelia and Edgar demonstrate the affection and both hold for their fathers high. Cordelia and Edgar would do anything for their fathers to demonstrate the affection they have despite the fact that their father may not trust that they mean well by them. By and large, children are there to love, help, and bolster each other from the earliest starting point. All through life, parents love their children genuinely and anticipate from a similar love and care they held for their children. The genuine, unlimited love is shown, not heard.