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Home About The Course. But I will tarry; the fool will stay, And let the wise man fly. The knave turns fool that runs away; The fool no knave, perdy. Share this: Twitter Facebook. Like this: Like Loading January 27, at pm.
I really like your analysis of the Fool, and I think it presents his role in the play very well. January 28, at pm.
January 31, at pm. October 20, at pm. Lear freaks out when he sees Oswald and demands—again—a straight answer from Regan and Cornwall: who put his man in the stocks? When Goneril enters, Lear begs Regan to take his side and then just about coughs up a lung when he sees her take her sister by the hand instead. How have I offended? LEAR O sides, you are too tough!
Will you yet hold? Goneril plays innocent and Lear asks about the stocks again. Lear is crushed. If till the expiration of your month You will return and sojourn with my sister, Dismissing half your train, come then to me.
I am now from home and out of that provision Which shall be needful for your entertainment. Adhering to the "kick 'em when they're down" school of philosophy, Regan pressures Lear to reduce the number of knights in his entourage and to go back to Goneril's house.
LEAR Return to her? And fifty men dismissed? Return with her? Why the hot-blooded France, that dowerless took Our youngest born—I could as well be brought To knee his throne and, squire-like, pension beg To keep base life afoot. Persuade me rather to be slave and sumpter To this detested groom.
He indicates Oswald. LEAR I prithee, daughter, do not make me mad. I will not trouble thee, my child. Let shame come when it will; I do not call it. I do not bid the thunder-bearer shoot, Nor tell tales of thee to high-judging Jove.
Mend when thou canst. Be better at thy leisure. I can be patient. I can stay with Regan, I and my hundred knights. Lear goes off on Goneril, insisting that she's more like a disease than a daughter. He compares her to blisters and boils, but says he won't badmouth her. Too late! In the meantime, while he waits for Goneril to feel ashamed of the way she's treated him, he and his hundred soldiers will stay with Regan. Give ear, sir, to my sister, For those that mingle reason with your passion Must be content to think you old, and so— But she knows what she does.
What, fifty followers? Is it not well? What should you need of more? How in one house Should many people under two commands Hold amity? Not so fast, Regan tells her pops. She isn't prepared for him to stay with her, and she thinks Goneril is right. Fifty soldiers is plenty. It would be impossible for Lear, with more soldiers than that, to fit into one of his daughter's households along with all of their servants. If then they chanced to slack you, We could control them.
If you will come to me For now I spy a danger , I entreat you To bring but five-and-twenty. To no more Will I give place or notice. When Goneril mentions that either her servants or Regan's could help to care for Lear, Regan agrees and says, "Let's make that twenty-five soldiers. That will be plenty. What, must I come to you With five-and-twenty? Regan, said you so? Not being the worst Stands in some rank of praise. To Goneril.
Thy fifty yet doth double five-and-twenty, And thou art twice her love. Lear can't believe his ears. He gave his daughters everything with the understanding that he would keep a hundred soldiers, and now Regan is saying he can only have twenty-five. In comparison, Goneril's offer of fifty doesn't look so bad. Lear says he'll stay with her instead. What need you five-and-twenty, ten, or five, To follow in a house where twice so many Have a command to tend you?
Goneril and Regan don't think he needs any soldiers. They have plenty of staff to see to his needs. LEAR O, reason not the need! Our basest beggars Are in the poorest thing superfluous. But, for true need— You heavens, give me that patience, patience I need! You see me here, you gods, a poor old man As full of grief as age, wretched in both. I have full cause of weeping, but this heart Storm and tempest. Lear is incredulous that his daughters would strip him of everything and points out that even the lowliest of beggars have a little something more than the bare minimum.
He declares them to be unnatural hags, and promises to do something to them that's so bad he hasn't even thought it up yet. Thunder rumbles ominously behind Lear's promise of revenge. Lear says he knows his daughters expect him to cry, but he won't. His heart would have to break into a thousand pieces before he'd let himself weep.
Of course, he does say he's going to go mad as he rushes off into the storm. Might be a better idea to just sit down and have a good cry, buddy. Cornwall, Regan, and Goneril chat about the weather, and reiterate that while they'd be happy to take their dad in out of the storm, neither of them is willing accept even one of his followers. Gloucester, who initially followed Lear out, rushes back in. He's worried about Lear. He says that the King has ordered a horse, but Gloucester has no idea where he plans to go.
Cornwall says it's best to let Lear go. He's a big boy—he can decide whether or not he needs a raincoat. Or shelter. Goneril agrees, but Gloucester is worried. The night's brewing thunderstorm is not nice weather to be running away in, and there's no cover for miles. Know'st thou this paper?
Ask me not what I know. Go after her: she's desperate: govern her. What you have charged me with, that have I done; And more, much more; the time will bring it out. But what art thou That hast this fortune on me? The first of the stage-directions is not in the Qq. The second 'Exit' is both in the Qq. I will not go into the various views of these lines, but will simply say what seems to me most probable. It does not matter much where precisely Goneril's 'exit' comes; but I believe the Folios are right in giving the words 'Ask me not what I know' to Edmund.
It has been pointed out by Knight that the question 'Know'st thou this paper? When Albany is undoubtedly speaking to his wife, he uses the plural pronoun, 'Shut your mouth, dame,' 'No tearing, lady; I perceive you know it. I should take the passage thus.
At 'Hold, sir,' [omitted in Qq. Goneril snatches at it to tear it up: and Albany, who does not know whether Edmund ever saw the letter or not, says to her 'I perceive you know it,' the 'you' being emphatic her very wish to tear it showed she knew what was in it. She practically admits her knowledge, defies him, and goes out to kill herself. He exclaims in horror at her, and, turning again to Edmund, asks if he knows it. Edmund, who of course does not know it, refuses to answer like Iago , not like Iago out of defiance, but from chivalry towards Goneril; and, having refused to answer this charge, he goes on to admit the charges brought against himself previously by Albany 82 f.
I should explain the change from 'you' to 'thou' in his speech by supposing that at first he is speaking to Albany and Edgar together. Lear, looking at Kent, asks, Who are you? Mine eyes are not o' the best: I'll tell you straight. If fortune brag of two she loved and hated Qq. Kent is not answering Lear, nor is he speaking of himself. He is speaking of Lear. The best interpretation is probably that of Malone, according to which Kent means, 'We see the man most hated by Fortune, whoever may be the man she has loved best'; and perhaps it is supported by the variation of the text in the Qq.
But it occurs to me as possible that the meaning is rather: 'Did Fortune ever show the extremes both of her love and of her hatred to any other man as she has shown them to this man? The last lines. Bear them from hence. Our present business Is general woe. I have a journey, sir, shortly to go; My master calls me, I must not say no. The weight of this sad time we must obey; Speak what we feel, not what we ought to say. The oldest hath borne most: we that are young Shall never see so much, nor live so long.
So the Globe. The stage-direction right, of course is Johnson's. The last four lines are given by the Ff. The Qq. It is proper that the principal person should speak last, and this is in favour of Albany.
But in this scene at any rate the Ff.
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