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In King Lear, Shakespeare constructs the play so that originally, as Herbage argues, We weigh circumstances and view Lear s reverses at least partly in terms of his faults, yet eventually find that disaster is created by the immeasurable evil, of his two daughters. This technique results in complex character development, which stimulates the reader to evaluate each player repeatedly, as they each experience many reverses. Lear s initial behavior sets in motion a chain of events, which uncover his primary vulnerabilities, as a king, a father, and man. Although the reader recognizes this, as Lear becomes increasingly aware of his faults, his daughters evil natures unfold, and the blame shifts to them for the misfortunes that occur through the rest of the play. As the first act commences, Lear conducts himself in a manner that is true to a king, yet causes the reader to blame him for the onslaught of turmoil that follows. King Lear s first entrance is replete with ritual and ceremony.
He decides to apportion his kingdom as a gift, rather than an inheritance to his three heirs. He chooses, however, to have his daughters declare their love to him as a condition for their share of the kingdom. Which of you shall we say doth love us most? That we are largest bounty may extend (Ii 52 - 3) he declares, making obvious to the reader that his method is flawed, yet does not himself notice because he is only speaking with the self-assurance of a monarch.
It is thus partly his own fault that the superficial speeches given by Goneril and Regan are credited; especially because they are consistent with the ceremonial provisions Lear tries to maintain. Oppositely, Cordelia s response is borne of genuine love and honesty, yet is foolishly disregarded by Lear, because he is blind sighted by his adherence to imperial formalities. The reader feels further compelled to place the blame on Lear because he rashly disclaims all [his] paternal care (Ii 120 - 21) for Cordelia, and divides the kingdom between Regan and Goneril. If perchance, the reader does not notice Lear s mistakes, then Kent s truth seeking request, Reserve thy state and in they best consideration check this hideous rashness (Ii 158 - 60) undoubtedly directs the reader to re-evaluate his actions. Shakespeare has packed the first act with the King s wrongdoings, capturing a final distaste from the reader after Kent, his most loyal and faithful servant, begs the Lear to stop and think a moment, Lear proves to the audience that his temper does yield, when he orders Kent Out of [his] sight, (Ii 168) with a punishment of banishment. The first scene does not end with full blame on Lear however.
Although Lear s character causes him to act blindly and impulsively, he does the meaninglessness of his daughters proclamations, when he refers to them as speeches. He therefore unintentionally shows the reader the seeds of the daughters evil. Although the first signs of malevolence in Goneril and Regan are apparent very early on, the reader sides with the daughters due to Lear s arrogance and poor judgment. As a result, the reader sympathizes with Goneril s immediate attempt to remove her father from his position of authority, as he relinquished this power when he divided the kingdom. She rallies her servants, who she claims are being mistreated by Lear, and orders them to neglect him because every hour he flashes into one gross crime or another that sets [them] all at odds (I iii 5 - 6) with the hope that this will divest his power. The reader remains allied with Goneril, mainly because she portrays her father as old and unworthy of power.
She says, Old fools are babes again (I iii 20) suggesting that Lear no longer has the ability to rule, for he is no better than a child now. Goneril plans to arouse a conflict with her father that will result with Regan and her in complete control of the kingdom. Although Goneril behavior has become more devious, the reader still agrees with her actions; however, she arouses such conflict with Lear that he realizes his foolishness and attempts to fix his mistakes. As Lear quickly understands the grave mistakes he has made, the audience begins to forgive him; concurrently, the daughters begin to lose favor, as the audience becomes more acquainted with them. This change in character perception causes shifts in opinion. Initially, the audience blames Lear s ignorance for his daughters behavior, they now realize they a deep seeded evil within the daughters is the foundation upon which the looming tragedies are based.
The first character to freely comment on the situation is the fool. His speech is normally passed as nonsense, so the honesty within it is overlooked by most of the characters. When he states, I am better than art though: I am a fool, thou art nothing he heightens Lear s realization of the precarious situation he has created in his Kingdom. The fool continues to comment and deems the daughters culpable, because of their greed.
The fool presents a very persuasive argument, and as a result the reader begins to accept his view. The crucial change in perception occurs late in the second act, when Lear seeks Regan s help, only to find that she had betrayed him as well. Hurt and baffled by Goneril behavior, Lear proclaims his ill will towards her, Beloved Regan, they sister s naught She hath tied sharp-toothed unkindness like a vulture, here! (pointing to his heart) (II iv 145 - 7). As he emphasizes the hurt he feels, by pointing to his wounded heart, he increasingly gains sympathy from the reader, while malicious Regan adds to his suffering, O, Sir you are old You should be ruled, and led by some discretion that discerns your state better than yourself (II iv 160 - 4). Regan reinforced Goneril s arguments that the King is aging quickly, and is no longer properly suited to have power. With increasing disregard and disrespect for their father, let alone former King, the two daughters continue to take everything from Lear.
They feel, ruled by their greed, that because Lear has legally relinquished power, he should not have any of the trapping of a monarch. They become so petty that they argue about how many servants he should have, What need you five-and-twenty, ten, or five to follow in a house where twice so many have a command to tend you? (II iv 294 - 6) implying that now that the daughters are in power, Lear s rule is meaningless. As the act draws to a close the audience is left witnessing Lear as he pleads with the gods for a chance to regain control of his life. By now his daughters have overpowered him completely, and he imploringly cries, You see me here, you gods, a poor old man If it be you that stirs these daughters hearts against their father touch me with noble anger.
After this, he makes a comment to his two evil daughter that the audience would not have formerly supported, I will have such revenges on you both (II iv 306 - 13) now has complete legitimacy in the readers mind. This new inferior tone in Lear s voice and actions make him appear to cower at his daughters degrading behavior. Because of Lear s excessive confidence in the love of his daughters, he know find himself in a most horrible situation. His response to his children, proving him to feel reduced to no more than a servant or child, along with a lack of respect they show for their father s condition, allows the audience to place full blame on the inherent evil of Goneril and Regan for the tragedies that ensue. The first two acts of the play reveal complex character traits that allow the audience interpret changes in personality and the motives of the players. Goneril and Regan quickly emerge as the cynical conceits that they are, while Lear suddenly becomes a noble victim.
The intricacies of the play, allow the reader to use his mind and feel an array of different emotions very early on. Shakespeare s ability to build and rebuild characters results in a genius piece of literature. 31 e
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