Goneril argues necessity, in behalf of good order, as the excuse for rebuking and restraining her father; as one might defend the cuckoo, hatched and reared in the nest of the sparrow, for destroying its foster parent from necessity for food. The Fool makes frequent use of old proverbs and of lines from old songs. "Shakespeare's fools are certainly copied from the life. The originals whom he copied were no doubt men of quick parts, lively and sarcastic. Though they were licensed to say anything they desired, it was still necessity, to prevent giving offence, that everything they said should have a playful air; we may suppose, therefore, that they had a custom of taking off the edge of too sharp a speech by covering it hastely with the end of an old song or any glib nonsense that came into the mind." (Sir Joshua Reynolds,) Lear. Does any here know me? This is not Lear. Does Lear walk thus? speak thus? Where are his eyes? Either his notion weakens, his discernings Are lethargied-Ha! waking? 't is not so. Who is it can tell me who I am? Lear. Your name, fair gentlewoman? Goneril. This admiration, sir, is much 'o the savour Of other your new pranks. I do beseech you As you are old and reverend, you should be wise. 230 * 235 240 Than a grac'd palace. The shame itself doth speak 245 For instant remedy. Be then desir'd By her that else will take the thing she begs, A little to disquantity your train; And the remainder, that shall still depend, 250 Lear's amazement arises not so much from the words of his daughter, which are at least dignified and restrained, as from an inuer awakening to the realization of his own position, which the Fool by his jests makes clear to all. Since line 72, there has been a most rapid development of this consciousness in Lear until he is now so astonished at the position in which he subjectively finds himself as to be uncertain whether he is insane or dreaming. A man in such a position cannot be Lear, one accustomed to compel quick obedience in deed, word, and look. It is madness or a dream. When he realizes that he may be waking, no longer dreaming and not insane, he at once denies the possibility of his being Lear. To the words of the Fool he pays no attention; and his oblivion to the presence of his favourite deepens the impression of his dazed condition. The rapid, wild growth of his passion sweeps the spectator along with it. It is in harmony with the unrestrained passion of which the whole drama is an exhibition. 231. notion: understanding. # See Appendix VII. 236. admiration: astonishment, which Goneril implies to be affected. much o', etc.: much like. 241. debosh'd: debauched. 245, 246. speak for: demand. 248. disquantity: diminish. 249. depend: continue in service, 250. besort: be suitable to. Lear. Darkness and devils! Saddle my horses! call my train together! Degenerate bastard! I'll not trouble thee. Yet have I left a daughter. Goneril. You strike my people, and your disorder'd' Ingratitude, thou marble-hearted fiend, Albany. Pray, sir, be patient. Lear. Detested kite! thou liest. My train are men of choice and rarest parts, And in the most exact regard support The worships of their name. How ugly didst thou in Cordelia show! 260 265 O most small fault, Which, like an engine, wrench'd my frame of nature And added to the gall. O Lear, Lear, Lear! Beat at this gate, that let thy folly in, And thy dear judgment out! Go, go, my people. Albany. My lord, I am guiltless, as I am ignorant Of what hath mov'd you. 270 Lear in passion is blindly oblivious to all except the fever within his own heart. He will at once away although the day is nearly over. The entrance of Albany attracts his attention for only a moment. He does not pause for any reply to his question (258). It is impossible for Lear to be patient; his passion must run its course. Hence he continues to rave at Goneril. Then, as physical strength becomes somewhat exhausted, he chides himself for his earlier foolishness. A fault in Cordelia, which now appears small, over threw all his self-control and changed his love to hate. He bemoans this loss of self-control, unconscious that a similar wave of passion is again driving him from his fix'd place. 254. daughter: Regan. 257. repents: repents of having thus put himself at the mercy of Goneril. 260. thee: thyself. 261. sea-monster: probably without reference to any particular animal, real or mythological. 262. kite: a woman of loose character. 266. worships: honour and dignity. 268. Which: the fault in Cordelia. engine: the rack as an instrument of torture. 271. gate: his head. |