Kent's raillery, whether the expression of genuine anger against one who has mocked the king or the expression of playful scorn, is the more cutting for being in many particulars a true portrayal of Oswald's character. Kent must realize that in offending Oswald he is bringing Goneril's anger upon himself in special measure. Is be seeking to draw her fire away from Lear? If so, he fails, making a bad matter worse, for Lear bears the blame for all that bis servants do.

Since Kent, with all his abandon of scorn, never so far forgets himself as to reveal his own personality, we find it difficult to believe that he is here the sport of his own angry passion. Rather may it not be that by his offences he hopes to precipitate the final crisis between Lear and his daughters, thus saving Lear by having him discover their real character before it is too late for him to turn to Cordelia of whose devotion Kent has no doubt? In this connection, consider the note at the end of the scene.

Kent. What a brazen-faced varlet art thou to deny thou knowest me! Is it two days ago since 30 I tripped up thy heels, and beat thee before the king? Draw, you rogue! for, though it be night, yet the moon shines. I'll make a sop o' the moon-shine of you; you whoreson cullionly barbar-monger, draw. Oswald. Away! I have nothing to do with thee. Kent. Draw, you rascal! You come with letters against the king, and take Vanity the puppet's part against the royalty of her father. Draw, you rogue, or I'll so carbonado your shanks!

rascal! Come your ways.

Oswald. Help, ho! murther! help!

35

Draw you

40

Kent. Strike, you slave! stand, rogue, stand! you

neat slave, strike!

Oswald.

Help, ho! murther! murther!

29.

varlet: servant.

30. two days: See I. IV: 101.

32. Draw: draw the sword for a manly strife.

33. sop: a morsel, as of bread, dipped in a liquid. The entire expression is a figure from cookery equivalent to the more modern slang: beat you flat as a pancake.

34. cullionly barbar-monger: wretched, barber-trimmed fop. (Hudson.)

37. Vanity the puppet: Goneril.

This is an allusion to the old

moralities in which Vanity, Iniquity and other vices were personified.

39. carbonado: cut crosswise as for broiling.

40. Come, etc.: come on, begin.

43 neat: dandified, fiuical.

The bold horse-play of this scene appeals to the vulgar crowd of the theatre and is much to their liking. They can fully understand Kent and laugh as the careful Oswald is made to dance about the stage in fear for his life, for though on a low level the characters of the two men are clearly revealed.

Enter Edmund, with his rapier drawn, followed

by Cornwall, Regan, Gloucester and Servants. Edmund. How now! What 's the matter? Part. Kent. With you, goodman boy, if you please; come, I'll flesh ye, come on young master. Gloucester. Weapons? arms? What's the matter here?

Cornwall. Keep peace upon your lives! He dies that strikes again. What is the matter?

Regan. The messengers from our sister and the king?

Cornwall. What is your difference? speak.

Oswald. I am scarce in breath, my lord.

45

50

Kent. No marvel, you have so bestirred your valour. You cowardly rascal, nature disclaims in thee; a 55 tailor made thee.

Cornwall. Thou art a strange fellow; a tailor make a man?

Kent. A tailor, sir; a stone-cutter or a painter could not have made him so ill, though they had been but 60 two years o' the trade.

46. With you, etc.: Kent purposely takes Edmund's matter in the sense of quarrel, and means to say I'll fight with you, if you wish. 47. flesh ye: give the first taste of flesh, as to a hunting dog; initiate.

55. disclaims: denies having made you.

56. tailor: Kent despises Oswald as one who owes the best part of his manhood to his clothes.

61. years: This reading of the folio is often changed to hours, as in the quartos, but two years, in the case of a painter or a sculptor, is short enough to give point to the sarcasm.

The confusion in the court has attracted the attention of those within; and Edmund, eager to strengthen the good impression he has made on Cornwall, is the first to rush boldly forth. As Edmund orders them to separate, Kent offers to continue the quarrel with him: the matter is between you and me, my lad. Kent regards Edmund as an inexperienced youth, whom he offers to initiate into the matter and the art of strife. The patronizing insult is given without real intent to offend, more than to say-mind your own business. Edmund wisely withdraws, at Cornwall's command, doubtless recognizing the innocent nature of Kent's words and furthermore not wishing to be mixed in any quarrel that might endanger the working out of his plan.