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En este documento encontrarás un análisis de las escenas de mayor relevancia en la obra de Shakespeare. Hay una introducción que presenta la filosofía que sigue esta obra al igual que al final hay un glosario de términos útiles para aplicar en el análisis de una escena.
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lower generation with a gape of 20 years), and it has to do with the existentialist dimension of the play.
5. Existentialism in the play What are we as human beings? Is our identity determined by the fact that we are sons and daughters of others? Are we completely free to be ourselves? or does our identity depend on the fact that we are beholden and contingent upon the existence of a father and a mother? We are biologically dependent on them, does that make us subject to them? Or can we become free after being born? We are born with that feeling of duty towards our parents. And this concept in essential in the understanding of King Lear: Are we obliged to have a duty towards our parents? It is a moral duty; do we have to fulfil it? It is impossible since it is an infinite debt and it is morally unbearable because it cannot be satisfied in a normal manner. King Lear is very much about this. 6. Central oppositions Noble VS base High VS Low King VS beggar Rational VS natural Human VS beast Central oppositions which turn around the basic determination of the identity of the human, what is a human being? 6.1.Opposition between nature and society In order to make a further analysis of the opposition between nature and society, Shakespeare distinguishes the order of social law as opposed to the order of natural law. This distinction between a natural world in which behaviour is repeated by seasonal cycles (the cosmic world) against which the laws of the polis is going to be tested. But cosmos has nomos too. In a state of nature , a natural being follows a constant behaviour, which can also receive the name of law and regulations. In a state of society , a being follows social law, which are artificial and created by human beings. This same happens with the problem of needs and necessities. The needs and necessities in the world of nature are natural and are aimed at survival and to maximise the capacities of reproduction. They are the need of food , sexual intercourse in order to produce a next generation, shelter and survival. In the world of society, these natural needs are present, but they are transformed into rights. (These laws are obligations, duties. The flipside of the obligations is the rights.) What are the rights of human beings? Food, shelter and protection, which are natural needs. However, at the level of society there are also social needs : these only emerge in a cultural environment, for example the need for education, for a telephone, for dressing, which are superfluous and artificial.
Shakespeare seems to be examining in this play the difference between necessary necessities and unnecessary necessities ; between social needs and natural needs; between authentic needs and artificial needs; but where do you place the boundaries? He seems to be establishing a distinction between those natural needs that become rights and those unnatural needs that cannot become rights because they are artificial. Natural needs in human beings become human rights, but the problem is artificial rights: rights that correspond to social needs that are not totally necessary. [The play is about this.] The play is about realising what is natural from what is social, what is necessary form what is unnecessary, what is fair from what is unfair, what is fit from what is superfluous. Therefore, social and political titles, identities, social privileges and properties are additions, unnecessary needs and therefore not rights. But the king thought that all of those social things were natural and he has to learn that distinction.
7. Spheres Natural /Cosmic level : mediation about the difference of the human and non-human , nurture and nature , society and nature , the conventional and nature. It is the tragedy that shows a greater attention to nature, to the natural world since most of the actions take place outdoors. However, this is a Nature that is hostile, aggressive that humbles the human being. It is not a pastoral nature , but an anti-pastoral natural. Predatory animals and storms. At the political level : this play is a meditation on the nature of personal power in the form of monarchy. When this power becomes excessive it turns into a Tyranny or despotism. At the level of domus : this play is a mediation about the relationship between fathers and sons and daughters, and the rightfulness or illegitimacy on the part of the second generation to forego its duty to the former generation. It is right to break your duty to your parents? (That is the problem). A duty, which is the same as “obligation”, is what we call a “bond”, and the bond is the “link”. These words are etymologically connected to what we find in “ligare” (that is ‘ligature’), which means a connecting thread, or cord. This implicature is found in the name of the youngest daughter: Cordelia, who speaks about the pater-filial bond. Furthermore, cord could also make reference to “cord-cordis” (heart in latin). And “ delia ” from Cordelia, seems to be an anagrammatically transformation of the word “ideal”. Therefore, in Cordelia we have the rope, the heart and the ideal. At the level of the psyche : this is a play about the self-knowledge. King Lear can be described as the pilgrimage of self-knowledge. He is mistaken about himself at the beginning of the play and he needs to be taught by means of enduring the experience of banishment and by confronting directly with nature, he learns about the difference between society and nature, and learns about himself, his own identity. 7.1.Disorder on the spheres Disorder applies to all 4 levels. Disorder has to be followed by a restoration of a new kind of order. Therefore, at the end of the tragedy, we expect some kind of restoration of the
Edmund is an embodiment of nature, a representation, an expression of natural force and energy that is unhindered by social repression. He is described as motiveless malignity , that is to act evil without a cause. He possesses a strong sense of insolence, pent-up violence and energy. He has a psychological problem caused by society’s rejection of him in 2 grounds: on the ground of legitimacy: he is born out of the order of law, born into nature not exactly into society; and on the ground of the order of law: only the oldest son will receive the inheritance of the title and the property of the father in aristocrat families (this is the rule of primogeniture). Therefore, his psychological problem is his r esentment against society, the law, and the father , who he has been permanently reminding him that the mother was a prostitute. As a consequence, he is a malcontent, a resentful character. Edmund also undergoes a pilgrimage since he has a moment of reconsideration which gives us a glimpse of his true nature: when he wants to stop the killing of one of the characters. He learns that he is excessively wicked. Edgar is the likeliest King at the end of the play is Edgar. However, Edgar is not a figure of order. – Edgar is a figure that achieves a certain level of natural authenticity by enhancing his rational power, by becoming more rational. He is a figure of meta- rationality, of enhanced rationality. He is going to put on an antic disposition. [Similar to Hamlet.] – Edgar, as well as Hamlet, have a puritan constraint. – Although he puts an antic disposition throughout the play, there is a moment where he shows empathy and an extraordinary act of charity and care (the faked suicide attempt). – He surprisingly becomes the protagonist of the play. He is the Deuteragonist that becomes the protagonist.
Also called as “wisdom language” in its pastoral simplicity conveys an elevated meaning. There is something Christological about the fool. At the bottom, Jesus and the fool defend the same values: Truth and justice. Edgar and the fool are ironic characters ; they pretend to know less than they know. They are Socratic characters; embodiments of the ironist. While Edgar pretends to be mad; the fool pretends to be silly. Furthermore, there are traces of The Praise of Folly from Erasmus. Erasmus says that foolishness, folly and madness sometimes are useful in order to defend intelligence and reason. They are ironic strategies to survive rationally.
9. Double plot King Lear is an anomaly in Shakespeare’s dramaturgy because it offers a double plot : a central plot→ the story of king Lear and the daughters; and the subplot → the story of Gloucester and his 2 sons. The main plot and the subplot converge at some point and they end up becoming woven into one another, generating a single fabric. 10. Characters that accept and a don’t accept the symbolic order Within the story there are characters that basically abide by the rules, that conform to the symbolic order (category taken by the French psychoanalyst Lacan). The symbolic order is culture, society, it is what we call the theatricalization of society, the conventional and arbitrary nature of society; society dominated by the convention of language and the convention of the law (neither language nor the law are natural). In the story of King Lear, we can make basic distinctions between the characters that accept the symbolic order of society , that is to say characters that accept the theatricalization of society, and characters who do not accept it, who want to be authentic, natural and sincere. The characters that accept the theatricalization of society: Regan, Goneril, Kent, King Lear (at the beginning of the play), Gloucester, Edmund (to a certain extent, he is a liminal figure: he realises the arbitrariness and falsity of society). Characters that do not accept and denounce the pointlessness and corruption of the social show of society: Edgar and Cordelia. The don’t want to abide by the rules of society; they want to scape it and they take 2 different courses: in order to survive that toxic realm, you have 2 possibilities 1) to escape it (Cordelia), 2) playing a parodic performance of the social rules (Edgar); as a consequence, he becomes a metatheatrical character (as Hamlet). 11. Lack of mothers The problem with king Lear is that there are no mothers , and this creates an absence, a gap, a lagune that is going to create a lack of affection that explains a great deal of abnormal emotional behaviour in the play. 12. Mirror families We find a symmetric pattern between the 2 families, Gloucester and Lear’s families, which applies to different levels. Gloucester has 2 sons, one of which is going to be banished (Edgar); while Lear has 3 daughters, one of which is going to be banished (Cordelia). The exile of these 2 characters is the result of an emotional cognitive misunderstanding between a member of a generation and another generation. The misunderstanding between Cordelia and Lear is that they are missing one another. The same pattern applies to Gloucester and Edgar. Furthermore, the misunderstanding is
Gloucester, at the beginning of the play, favoured Edmund, and, at the end, there is going to be a reconciliation with Edgar.
15. The problem of the identification Characters fail to recognise the identity of others (problem of acknowledgment) and also characters that fail to recognise themselves. Why cannot they identify others? Because they cannot read their emotions (they are more seeming more than being) or because they are in disguise. Lear has an incapacity to read through other people, to recognise other people's real identity. He is unable to distinguish between flattery and truth. The same happens with Gloucester. In this play there is a constant temporal unfolding from ignorance, recognition and disowning, towards knowledge, recognition and acceptance. Lear starts the play in ignorance and undergoes a travel of knowledge. And in that process of reading others, he is going to undergo a process of self-knowledge (why? Because he identifies his real self with his social persona: the king.) It takes him a process of humbling to reach his true identity and learn the truth. 16. ANALYSIS ACT 1, SCENE 1: The beginning of the play starts with the subplot. A conversation is already taking place (the play begins in medias res), this gives a feeling of realism and spontaneity. Kent and Gloucester are talking about political familiar problems, about the division of the kingdom in between the dukes, who are the sons-in-law of King Lear, and they are legally more important than the daughters since they are the ones with the right to inherit, to get the property that is the kingdom. Apparently, he seems to be planning the division of the kingdom in between the three daughters. He had already subdivided parts in between Goneril and Regan; but now, Cordelia is about to get married and maybe the king is beginning to think that he should subdivide further and split the kingdom. This is a strange decision since the king is still alive. If the king decides to divide the kingdom in life, what he seems to be doing is abdicating in life, to give up his throne, his kingdom. This looks like a foolish decision; however, this is accounted because of his age, he is becoming senile, he behaves almost like a child. So, Kent and Gloucester and talking about this issue, and a change of subject takes place: “ Is not this your son, my lord? His breeding, sir, hath been at my charge. I have so often blushed to acknowledge him that now I am brazed to ’t .” → from the very beginning Gloucester refuses to acknowledge him as his son because Edmund is a bastard and that creates a sense of shame. Remember the hypocritical dimension of society : bastardy and legitimacy are obviously conventional, moral categories that have nothing to do with nature. But Gloucester seems to be ashamed of the fact that he has a bastard son.
I cannot conceive you. → I cannot understand what you say. However, conceive has a double meaning: 1) conceive as “to understand” and 2) conceive as “to biologically produce an offspring”. And Gloucester is going to play with that double meaning. Sir, this young fellow’s mother could, → she could conceive, that is get pregnant and had the child. He is talking about the shame that is contingent upon extramarital sexual relationships. Sex is associated to guilt, sin and shame. whereupon she grew round-wombed and had indeed, sir, a son for her cradle ere she had a husband for her bed. → lurking misogyny. The mother is described here as a prostitute, as an object of sexual pleasure, the woman is being reified. There is also an inherent association between sexual and the feminine. Do you smell a fault? →’do you understand what I say’ I cannot wish the fault undone, the issue of it being so proper. → Kent plays with the expression. A fault is considered a sin, and what is Gloucester’s sin? Adultery. Therefore, a “fault” is directly referring to Edmund. He doesn’t wish the fault to be undone because the fault for him is Edmund, the outcome of the sexual intercourse, of adultery. He doesn’t want the fault to be undone since he considers Edmund a wonderful handsome young man. But I have a son, sir, by order of law, → a son that is legitimate, born into the marriage. There is a distinction between: order of law VS order of nature, a son of law (legitimate) a son of nature (bastard). Edmund is existentially outside law. some year elder than this, → Edgar is older than Edmund; therefore, according to the law of primogeniture , he has the right to the property of the father when he dies. who yet is no dearer in my account. → the fact that the other son, Edgar, is legitimate does not make him dearer in his account; he does not love him more because of that. This is a declaration of love to Edmund. Yet, by the way he has spoken about him, does he truly love him? He is insulting his mother; therefore, he is indirectly insulting him. Gloucester is talking about the mother in a derogatory, demeaning, offensive manner, as a prostitute; he is manipulating emotionally his son by saying that the mother was a prostitute but he loves him very much. However, there is an honest, sincere attachment between Gloucester and Edmund, he sees something in the boy, as everybody does since, he is one of the most fascinating characters created by Shakespeare: he is an embodiment of nature, a representation, an expression of natural force and energy that is unhindered by social repression. Though this knave came something saucily to the world before he was sent for, yet was his mother fair, there was good sport at his making, and the whoreson must be acknowledged. → again, the offence, which is more directed towards the mother than him. This shows the misogyny. My services to your Lordship. → behaving like an obliging son He hath been out nine years , →he was probably out because socially it was more convenient for the family not to be present.
the division of the kingdom to this procedure: a love test. This shows the volatility, the childishness, the senility, the gullibility of his mind that is causing some irrational emotional behaviour in the king.
Nothing, my lord. / Nothing? / Nothing. →indeterminate pronoun: nothing. It emphasises the existential sense of the play (being and not being, things and not things = nothing) Nothing will come of nothing. → it is a metaphysical idea. Ex nihilo nihil fit. Unhappy that I am, I cannot heave My heart into my mouth. → opposition of terms: Heart Vs Mouth. Heart stands for: intention, content, emotion, the matter, the signified. This is unlimited, infinite and it is inside; therefore: being. Mouth stands for: word, name, term, the signifier (something that comes through the mouth). This is limited, finite and it is outside; therefore: seeming. In speaking our emotions, we externalize something that is potentially infinite and we give it a limit. This is what she is saying: ‘I cannot bring what it is in my heart out in the limited core of a signifier.’ Cordelia’s reply shows the insolence of sincerity. I love your Majesty According to my bond, no more nor less. → this is her final and official response. If you force me to say my response, I will say this: ‘I love you according to my bond.’ That is her duty as a daughter, which is to have a filial love towards her father. So, if you want me to play this game, I’m going to play it by the official rules (that is the order of law), and according to the law of filial duty, I must love you. She is not being completely sincere; she is submitting herself to the game in the best way possible and by doing that she is reminding him of the terms of the game, that is: we have obligations, and if you want me to bring those obligations out, I will. She relapses on the official nature of the children and father relationship. ‘I love you according to the law’ (written and unwritten: the law of the domus is an unwritten law which is conformed of prejudices that dominates the social life of Britain: a daughter must love her father according to the bond (the paternal relationship)) How, how, Cordelia? → is anger is increasing Mend your speech a little, Lest you may mar your fortunes. → amend your words unless you want to prevent your inheritance from being given to you. He is threatening Cordelia; this an emotional blackmailing. Form a linguistic point of view, this is a speech act (a performative). The king is always doing things with words: commanding, threatening, insulting, that is using language in a violent manner to impose his authority upon others. Good my lord, You have begot me, bred me, loved me. I return those duties back as are right fit : → Cordelia is going to specify the terms of the bond. “ right fit ” → justice (and justice is something that fits ; that is to give each one his or her due. In order words, justice is fair treatment).
This is the moment of the repudiation, this is the formal speech act, which takes place in the presence of witnesses; therefore, it guarantees the felicity of the speech act. Propinquity, and property of blood, → “propinquity” means proximity of blood. He is rejecting her from being his daughter. This moment reminds us of Gloucester’s lack of recognition of Edmund. And as a stranger to my heart and me → “Stranger”: banish from the heart. Hold thee from this forever. The barbarous Scythian, Or he that makes his generation messes To gorge his appetite, shall to my bosom Be as well neighbored, pitied, and relieved As thou my sometime daughter → Lear is cursing his daughter. This is another speech act, performative, perlocutionary and illocutionary act that will change the quality of Cordelia (the social person). She is altered after the curse since this supposes a repudiation, an act of disowning. In short, he is cursing and disowning her as his daughter, that is formally to repudiate, to reject her from the community of the domus. Kent realises the magnitude of the situation since Cordelia was the favourite daughter and he is rejecting her. Come not between the dragon and his wrath. → the king is comparing himself as the dragon (animalization) the divide animal-human is broken. The human becoming an animal is common in this play. I loved her most and thought to set my rest On her kind nursery. →this shows his egotism , and patriarchy. Hence and avoid my sight!— → (get thy hence). It takes place a direct rejection. So be my grave my peace as here I give Her father’s heart from her. → “Her father’s heart” metonymy; the heart represents the whole. He is saying ‘in rejecting you I am rejecting myself’ because she was his heart. Cornwall and Albany, With my two daughters’ dowers digest the third. → the third dowry. He will distribute the remaining dowry that supposedly belonged to Cordelia between Albany and Cornwall. He doesn’t address the daughters because the sons-in-law are the legal representative of the 2 domus and families. Let pride, which she calls plainness, marry her. → “plainness” is truth, sincerity, simplicity, lack of rhetorical elaboration; that is what she was defending as opposed to what her sisters do. I do invest you jointly with my power, → another speech act: Investiture. Another official moment: familiar and political. 1) Familiar because he is passion on a legacy of title and property from the father to the 2 sons-in-law. 2) Political because he is the king. Preeminence, and all the large effects That troop with majesty. → now it comes the condition of giving the titles and the power of the king:
Ourself by monthly course, With reservation of an hundred knights By you to be sustained, shall our abode Make with you by due turn. →that is: ‘you must allow me to reside in your houses in terms of one month with my hundred knights if you want the dowry.’ Only we shall retain The name and all th’ addition to a king. → he wants to retain the ornamental title, the right to live with his daughters and the addition to a king (certain ornamental privileges) The sway, revenue, execution of the rest, Belovèd sons, be yours, → the real power is yours; the executive power is yours, the capacity to levy taxes is yours. […] The bow is bent and drawn. Make from the shaft. → a threat: don't get in my way, in between me and Cordelia. We can see the affection that Kent processes to the king and Cordelia. Let it fall rather, though the fork invade The region of my heart. Be Kent unmannerly When Lear is mad. → Kent acknowledges the possibility of Lear being mad. What wouldst thou do, old man? Think’st thou that duty shall have dread to speak When power to flattery bows? → “flattery” as opposed to sincerity. To plainness honor’s bound → sincerity is bound to honour. The representative of sincerity is Cordelia. The representatives of flattery are Goneril and Regan. When majesty falls to folly. → Kent is implying that the king is going mad and foolish. These are the 2 irrational problems that he identifies in the king. Reserve thy state, And in thy best consideration check This hideous rashness. Answer my life my judgment, Thy youngest daughter does not love thee least, Nor are those empty- hearted whose low sounds Reverb no hollowness. → “those whose low sounds reverb no hollowness”: people who speak low may not be empty hearted. He is defending Cordelia. Her lowness and brevity don’t mean that she doesn't love her father. Hollowness : void, emptiness. A word used to refer to the sisters’ speech; they speak a lot but they say nothing. […] Right noble Burgundy, When she was dear to us, we did hold her so, But now her price is fallen. → Lear is talking about Cordelia as if she were a good, a commercial object, a commodity; she has been reified. Sir, there she stands. If aught within that little seeming substance , → Cordelia is a substance that is all being, no seeming, only being. Substance is opposed to accident. Substance is internal, content. Accident is external, form. Substance is what remains under, what is inside of something. Cordelia is described as something that is always inside, as the heart (Cord-cordis) […]
Thou, Nature, → this is an invocation and apostrophe of nature, which is personified as a goddess. By invoking her, he is claiming a natural lineage opposed to the social lineage which he has been denied. art my goddess. To thy law → law of nature opposed to the law of society My services are bound. → bound and bond are semantically connected. They arise a sense of obligation and duty. Therefore, what he is implying is that ‘I only have obligations and duties in reference to nature; I do not accept the political and social authority.’ We can mark this moment as the application of Feudal logic of service , in which there is a servant-lord relationship. As we can note, he is proud to be a subject of nature. Wherefore should I Stand in the plague of custom, → that is plague of local conventions, of costumery law, that is the laws that are applied to a particular place. He is saying: ‘why should I stand in the plague of costume? Why should I accept this legal costume? That is the legitimacy and primogeniture. Therefore, he is rejecting the validity of local costumery laws. According to him, the order of law has no absolute legitimacy; they are conventional, relative and artificial. In a way, by rejecting the law, he is defending a state of anarchy. and permit The curiosity of nations to deprive me → to deprive me means: to impoverish me; to deprive me of rights (property and inheritance). He is defying the order of law. For that I am some twelve or fourteen moonshines Lag of a brother? → he is saying: ‘because I am 12 or 14 months behind my brother, should I be deprived of rights?’ He is showing the fastidiousness of the law. why “bastard”? → by calling into question the validity of social names, the label "bastard", he is becoming a nominalist. ‘Why should we accept social categories that fail to identify the singularity of the human being?’ he is deconstructing the category, the label of “bastard”. Wherefore “base,” → base =low. Low in a moral, political and social sense. He is also playing with the homophony between bastardy and base. When my dimensions → dimensions = length and height are as well compact, My mind as generous and my shape as true → he is defending his dimensions, his mind and his shape; therefore, he is defending the natural dimension of his body; he is speaking about the natural person which is a combination of soul and body. ‘If my dimensions are compact, my mind is generous and my shape true, why is he privileged?’ As honest → brings to surface the moral opposition between honesty and dishonesty , which is a moral problem. madam’s issue? → issue = outcome, result, consequence, offspring. Edgar is the honest madam’s issue because Edgar is the son of the legal wife of Gloucester and that legal wife is an honest madam; whereas Edmund’s mother is a dishonest woman that only practices sexual intercourse in a natural festive mood; she is regarded as a natural creature.
Why brand →Edmund is referring to all those who belong to the same category as him: Bastards. And is asking why they are branded, as if they were cattle, with a tag, a category. they us → they = society With “base,” with “baseness,” “bastardy,” “base,” “base,” →the slipperiness of the signifier, he cannot stop playing with the homophones and repeating the insult. It proves that he is obsessed with that signifier but he is trapped in the designation of the signifier. Who, in the lusty → lust is the biological force of reproduction (regarded as something good) stealth → strength, climatic force of nature, → identification with nature take More composition → more beauty and fierce quality → they, bastards, are the outcome of non-marital sex which is supposed to be better since it is healthy and natural. Than doth within a dull, stale, tired bed → he is implying that marital sex is boring Go to th’ creating a whole tribe of fops → fops =idiots. The outcome of marital sex is an idiot. Got ’tween asleep and wake? →the members of the couple in the marital sex do not even realise they are procreating. He is talking in an insolent manner and is criticising the conventions of marital life, which go against the law of nature. if the order of nature would prevail over the order of law, he would be the champion. Well then, → conclusion Legitimate Edgar, → he is addressing his brother mentally I must → ‘ must’ shows his determination, he is resolved to do something have your land. →declaration of his intention: to appropriate his brother's lands (usurpation) Our father’s love is to the bastard Edmund As to th’ legitimate. →he is providing a cause. He claims his right by appealing to natural causes: love. ‘My father loves me as much as you, so I have the right to take your lands.’ The love of the father emerges as the motif that rationalises his reason to usurp his brother's lands. Fine word, “legitimate.” → he is quoting from social uses. This is a character who speaks in complete awareness of the arbitrariness conventionality of the terms society use. He is aware of the fact that ‘thought’ is mediated by language, reality is mediated through language. (The limits of my language are the limits of my world) Well, my legitimate, if this letter speed And my invention thrive, → thrive = grow, mature Edmund the base Shall top th’ legitimate. →conclusion: to vanquish over the legitimate. The empowerment of the bastard. Edmund who is in the base of the wheel of fortune tries
