A device which Shakespeare often utilized to convey the confusion and chaos within the plot of his plays, is the reflection of that confusion and chaos in the natural environment of the setting, along with supernatural anomalies and animal imageries. In King Lear, these devices are used to communicate the plot, which is summarized by Gloucester as:
…This villain of mine comes under the prediction: there’s son against father. The King falls from bias of nature: there’s father against child.
(Act 1, Sc.1, 115 - 118)
The “bias of nature'; is defined as the natural inclination of the world. Throughout the play King Lear, the unnatural inclination of nature, supernatural properties and animal imageries are used by Shakespeare to illustrate the chaotic state of England, which was caused by the treacheries of the evil characters.
Gloucester is a character in the play who firmly believed that man’s fate has supernatural properties that are controlled or reflected by the heaven and stars:
These late eclipses in the sun and moon
Portend us to no good. Though the wisdom of nature can reason it thus and thus, yet nature finds itself scourged by the sequent events.
(Act 1, Sc. 2, 109 - 113)
This is proclaimed by Gloucester as he is told by Edmund of Edgar’s supposedly treacherous plot to remove him from power. Gloucester’s trust in Edgar faltered as a result of Lear’s irrational banishment of Cordelia and Kent, coupled with recent anomalies in the heavens. Gloucester believed that Lear’s actions also came as a result of the star’s unusual behaviour. Edmund, the treacherous and bastard son of Gloucester, exploits Gloucester’s blind believe in the stars in his plot to oust Edgar out of the inheritance and ultimately to gain all of Gloucester’s wealth and land:
This is the excellent foppery of the world, that when we are sick in fortune (often the surfeits of the sun, the moon, and stars, as if we were villains on necessity; fools by heavenly compulsion; knaves, thieves, and treacherous by spherical predominance; drunkards, liars, and adulterers by an enforced obedience of planetary influence; and all that we are evil in, by a divine thrusting on.
(Act 1. Sc. 2, 125 - 133)
As a result of the irrational acts of trust by Lear and Gloucester, the state of England crumbled due to corruptness and treachery of Regan, Goneril and Edmund. At the point of ultimate chaos, Lear is disdained by his two evil daughters and has none of the power and honour of his kingship, and the state of nature reflects this chaos in the form of a tumultuous storm:
The chaos that occurs in "King Lear" is due the reshaping of bonds within the society. Thus naturally, bonds must be broken, kept and most importantly, formed. This rearrangement of bonds is necessary to Lear understanding his personal identity. Bonds that are broken include those relations between King Lear and his two eldest daughters (Regan and Goneril), between Glouster and Edmund and also between Edmund and Edgar. Lear and Cordelia; Lear and Kent; Glouster and Edgar include those bonds that are existent at both the beginning and conclusion of the play. By the ending of the play, Lear is able to come to terms with himself and with nature.
In The Tragedy of King Lear, particularly in the first half of the play, Lear continually swears to the gods. He invokes them for mercies and begs them for destruction; he binds both his oaths and his curses with their names. The older characters—Lear and Gloucester—tend view their world as strictly within the moral framework of the pagan religion. As Lear expresses it, the central core of his religion lies in the idea of earthly justice. In II.4.14-15, Lear expresses his disbelief that Regan and Albany would have put the disguised Kent, his messenger, in stocks. He at first attempts to deny the rather obvious fact in front of him, objecting “No” twice before swearing it. By the time Lear invokes the king of the pagan gods, his refusal to believe has become willful and almost absurd. Kent replies, not without sarcasm, by affixing the name of the queen of the gods to a contradictory statement. The formula is turned into nonsense by its repetition. In contradicting Lear’s oath as well as the assertion with which it is coupled, Kent is subtly challenging Lear’s conception of the universe as controlled by just gods. He is also and perhaps more importantly, challenging Lear’s relationship with the gods. It is Kent who most lucidly and repeatedly opposes the ideas put forth by Lear; his actions as well as his statements undermine Lear’s hypotheses about divine order. Lear does not find his foil in youth but in middle age; not in the opposite excess of his own—Edmund’s calculation, say—but in Kent’s comparative moderation. Likewise the viable alternative to his relationship to divine justice is not shown by Edmund with his ...
... Lears blessing, and declared his daughter. Lear also realized that Kents speaking out was for Lear’s best and that he too was abused and banished. What stings Lear even more is that he is now completely dependent upon his two shameless daughters, Goneril and Regan. Plus that he must now beg them when he took care of them like a father when they were once children, to drive Lears further into madness he realizes that as king he was so ignorant and blind with power that he never took care of the homeless and let them suffer. All these realization and the fact that Lear is in his second childhood a tender stage drive him into the peak of madness.
As the play opens one can almost immediately see that Lear begins to make mistakes that will eventually result in his downfall. The very first words that he speaks in the play are :- "...Give me the map there. Know that we have divided In three our kingdom, and 'tis our fast intent To shake all cares and business from our age, Conferring them on younger strengths while we Unburdened crawl to death..." (Act I, Sc i, Ln 38-41) This gives the reader the first indication of Lear's intent to abdicate his throne.
of play itself from order to chaos to restoration of order to division. again. I will be back. & nbsp; Throughout the text, the movements of celestial bodies are used to account for human action and misfortune. Just as the stars in their courses are fixed in the skies, so do the characters view their lives as caught in a pattern they have no power to change. Lear sets the play in. motion in banishing Cordelia when he swears "by all the operation of the orbs from whom we exist and cease to be" that his decision "shall not be. revoked". How like the scene in Julius Caesar wherein Caesar says "For I am constant as the Northern star" Lear vows to be resolute but dies.
Much of the imagery in King Lear's first scene presages what is to come in the play. Often characters refer to senses, particularly sight, whether as a comment on the necessity of sensing consequences before acting (as Lear does not), or as yet another of Shakespeare's comments (most apparent in Hamlet) on "seeming." The destruction of Gloucester's eyes and his subsequent musings ("I stumbled when I saw" (IV.i.19) etc.) are a more graphical presentation of this basic theme which originally appears in Lear's first scene. Goneril declares Lear is "dearer than eyesight" (I.i.56) to her (though she is the one who later suggests putting Gloucester's eyes out for his "treachery"). Regan goes further, proclaiming "I profess / Myself an enemy to all other joys / Which the most precious square of sense possesses" (I.i. 72-74). Crossed in his wrath by Kent, Lear cries "Out of my sight!" (I.i.157), only to be reproved with Kent's "See better, Lear, and let me still remain / The true blank of thine eye." (I.i.158-9).
Shakespeare uses subplots to dramatize the action of the play and give spark on the contrast for the themes in King Lear. Sub plots usually improve the effect of dramatic irony and suspense. The latter, which is used in King Lear, gives us the understanding of the emotions of the characters in the play. This follows the parallelism between Gloucester and King Lear.
The first flaw in King Lear is his arrogance, which results in the loss of Cordelia and Kent. It is his arrogance in the first scene of the play that causes him to make bad decisions. He expects his favorite, youngest daughter to be the most worthy of his love. His pride makes him expect that Cordelia’s speech to be the one filled with the most love. Unfortunately for King Lear’s pride, Cordelia replies to his inquisition by saying, “I love your majesty/According to my bond and nothing less';(1.1.100-101). Out of pride and anger, Lear banishes Cordelia and splits the kingdom in half to the two evil sisters, Goneril and Regan. This tragic flaw prevents King Lear from seeing the truth because his arrogance overrides his judgement. Lear’s arrogance also causes him to lose his most faithful servan...
Lear, like any king, Pagan or otherwise, would have been seen as the godhead on earth and therefore a man of exceptional power who implemented the gods' will on earth. Such a figurehead should surely command absolute respect and obedience. Yet Cordelia displeases her father, and Goneril's and Regan's actions following Lear's abdication can only be described as shocking, even to a contemporary and more liberal-minded audience. Act one, scene one represents the first emergence of filial disobedience, starting with Lear's vanity demanding that his daughters say how much they love him in a meaningless ceremony. Cordelia, his youngest and favourite daughter, will not be drawn into this.
The element of Christianity enters here, because King is a God-appointed position, not to be given up. Lear, however, decides to disregard this fact, instead focusing on the immediate gratification he will receive from his daughters, and boosting his self-esteem while making him feel loved. Lear essentially offers his land and power for love, "Which of you shall we say doth love us most? That we our largest bounty may extend where nature doth with merit challenge," forgoing his God-given position and rights.
Shakespeare's King Lear is a play which shows the consequences of one man's decisions. The audience follows the main character, Lear, as he makes decisions that disrupt order in his Kingdom. When Lear surrenders all his power and land to his daughters as a reward for their demonstration of love towards him, the breakdown on order in evident. Lear's first mistake is to divide his Kingdom into three parts. A Kingdom is run best under one ruler as only one decision is made without contradiction. Another indication that order is disrupted is the separation of Lear's family. Lear's inability to control his anger causes him to banish his youngest daughter, Cordelia, and loyal servant, Kent. This foolish act causes Lear to become vulnerable to his other two daughters as they conspire against him. Lastly, the transfer of power from Lear to his eldest and middle daughter, Goneril and Regan, reveals disorder as a result of the division of the Kingdom. A Kingdom without order is a Kingdom in chaos. When order is disrupted in King Lear, the audience witnesses chaotic events that Lear endures, eventually learning who truly loves him.
King Lear is at once the most highly praised and intensely criticized of all Shakespeare's works. Samuel Johnson said it is "deservedly celebrated among the dramas of Shakespeare" yet at the same time he supported the changes made in the text by Tate in which Cordelia is allowed to retire with victory and felicity. "Shakespeare has suffered the virtue of Cordelia to perish in a just cause, contrary to the natural ideas of justice, to the hope of the reader, and, what is yet more strange, to the faith of chronicles."1 A.C. Bradley's judgement is that King Lear is "Shakespare's greatest work, but it is not...the best of his plays."2 He would wish that "the deaths of Edmund, Goneril, Regan and Gloucester should be followed by the escape of Lear and Cordelia from death," and even goes so far as to say: "I believe Shakespeare would have ended his play thus had he taken the subject in hand a few years later...."3
In King Lear. Shakespeare uses imagery of great imaginative depth and resonance to convey his major themes and to heighten the readers experience of the play. There are some predominant image patterns.
The idea of nature is first introduces by Cordelia in the very beginning of the play. When Lear asks Cordelia to tell him how much she loves him, Cordelia responds by saying that she loves him "acoording to my bond." (1.1.102) Cordelia mean that her love for her father is based upon the laws of nature and involobes the clearest recognition of her filial obligations. It is this law which Lear himslef depends on when he expects to be revered and obeyed both as a king and as a father by all his daughters. Shakespeare demonstrates this idea when he points out that at a later point in the play, after Lear is treated horribly by Goneril, Lear expressed his conviction that Regan, unlike Goneril, knows better "the offices of nature, bond of childhood." (2.4.202) It is ironic that here Lear uses the exact same word as Cordelia has used before, that is, "bond" to describe the natural ties that he himslef broke before only to expect that they would be followe...
King Lear by Shakespeare portrayed the negative effects of power resulting in destruction caused by the children of a figure with authority. Through lies and continual hatred, characters maintained a greed for power causing destruction within their families. The daughter’s of Lear and the son Gloucester lied to inherit power for themselves. Edmund the son of Gloucester planned to eliminate his brother Edgar from his inheritance.