What Will Make King Lear Continue to Be Worthy of Critical Study
What Will Make King Lear Continue to Be Worthy of Critical Study
ЃeThe Tragedy of King LearЃf (K.L.), by William Shakespeare is part of the Ѓeliterary canonЃf. The uniqueness of this canonical play lies in its universality; that is its ability to be interpreted and re-interpreted throughout the course of history to suit the audience of a particular context. Not only is the play able to be re-interpreted, but its ideas and values, which are conveyed through the content by the language and construction, remain relevant to all societies. Hence, K.L. will continue to be a play worthy of critical study. This essay will discuss ideas exemplified in K.L. including: appearance versus reality, the corruption of power, anarchy leading to chaos and justice. The reception of Michael ElliotЃfs production will be analysed to explain why there is a wide interpretation of readings for ShakespeareЃfs K.L.
Throughout the play K.L., nothing is as it seems and this develops a world that is pretentious. This is developed through the thematic construction in the play, of appearance versus reality. King LearЃfs elder daughters, Goneril and Regan appear to Lear to be adoring and faithful, depicted in the opening scene where they use hyperbolic speeches to convince Lear to give them the land: ЃgSir, I love you more than word can wield the matter/ Dearer than eyesight, space and libertyЃh (1.1.50-51). However, they are masking their true nature and are only playing to vanity so that they inherit his land and wealth. Michael ElliotЃfs film production of K.L. has the sisters kneeling on the rug and kissing LearЃfs hands. It would appear that they were praying to him. Lear appears happy with their performance and is very confident and trusting in their proclamations of love and adoration. Feminist critics would disapprove of this portrayal of women. Feminists argue that this scene depicts women as corrupt and craving for land and power. When they do speak the truth, they are punished, or banished as Cordelia is when she Ѓgcannot heave/ My heart into my mouthЃh (1.1.86-87). Not only do Goneril and Regan assume this mask, so does Edmund. Cordelia, Kent and Edgar are victims of these false appearances and must adopt new roles to survive. Whether by force or by choice, these characters portray a world that is breaking down and descending into chaos. The use of such a device connects this play to, not only the morality play but also to the mask tradition in European drama. Both theatrical constructs crystallise in the construction of the Fool, who is wise and foolish. The thematic construction of binary opposites has made this play a live literary work of art, as critics down the ages have either applauded or derided this way of looking at the world. Feminists have used this play as evidence of dual representation of women, either as corrupt and demonic, Goneril and Regan, or pure and angelic, Cordelia. A contemporary audience learns from this production that EdgarЃfs speech ЃgSpeak what we feel, not what we ought to say.Ѓh (5.3.298) highlights why K.L. is worthy of critical study.
Consequences of the corruption of power in K.L. highlight how quickly anarchy can reign. This is demonstrated by LearЃfs decision to divide and give up his kingdom, yet still retain the title of ЃeKingЃf. ЃgGive me the map there. Know that we have divided/ In three our kingdom, and Ѓetis our fast intent/ To shake all cares and business from our age, / Conferring them on younger strengths Ѓh (1.1.32-35). Lear wants to pass on the responsibilities without passing on the title and power. Michael ElliotЃfs Lear has an authoritative voice and a confident appearance. He is dressed in colourful robes with jewels and wears a crown, which symbolises his ownership of the land. After the division of his kingdom between the elder daughters, Lear throws the crown on the map suggesting that the land now belongs to his daughters. Although he gives the land as a gift, the daughters feel that they have to usurp the power by humiliating Lear and leaving him with nothing. This is seen when Goneril questions her father: ЃgWhat need you five and twenty? ten? or five?Ѓh (2.4.254) and Regan adds: ЃgWhat need one?Ѓh (2.4.257). These questions have an interrogative tone that implies power has now finally shifted from Lear to Goneril and Regan. This abnormal shift of power allows corruption to escalate without intervention as seen in the torture of Gloucester when ReganЃfs metaphor ЃgOne side will mock anotherЃh (3.7.70) is followed by the command: ЃgthЃf other, too.Ѓh (3.7.70). This unnatural transition from the old order to the new is unjust, which is evident when the servant intervenes while Gloucester is being tortured ЃgHold your hand, my lordЃh (3.7.72). Michael ElliotЃfs