Characterisation King Lear Characterisation

Lear’s Character

Key Quotes

Which of you shall we say doth The proud old king instigates a public ‘love test’ to decide how love us most? to divide the kingdom between Goneril, Regan and Cordelia. This disastrous act will result in tragic consequences for all. (Lear to his daughters) Act 1, Scene 1, l.47

Come not between the dragon and Lear refuses to listen to his loyal courtier when Kent tries to his wrath make him see the terrible mistake he is making in banishing Cordelia. Animal imagery reinforces the savagery of life in the (Lear to Kent) Act 1, Scene 1, l.119 deceptive court.

let me still remain/ The true blank Lear inspires loyalty. Kent’s allegiance transcends circumstances of thine eye and he devotes his life to the king. Having offended his master by coming to Cordelia’s aid and speaking the truth, Kent has (Kent to Lear) Act 1, Scene 1, l.155–6 disguised himself and now asks to serve Lear as his honest adviser.

O most small fault,/ How ugly Horrified at Goneril’s cold-heartedness, Lear realises that he has didst thou in Cordelia show! mistreated Cordelia by punishing her for her refusal to flatter him. This marks an important stage in his painful journey from (Lear to Goneril) Act 1, Scene 4, l.252–3 blindness to insight.

O, Regan, Goneril!/ Your old Having divided his kingdom between his two elder daughters, kind father, whose frank heart Lear is appalled at their cruel treatment of him, reducing his gave all −/ O, that way madness number of knights and shutting him out in the storm. He is lies caught between self-pity and growing fears that he will lose his mind over their ingratitude. (Lear) Act 3, Scene 4, l.19–21

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O, I have taken/ Too little care of In another step towards self-awareness, Lear realises that when this! he was a powerful king, he lacked concern for the disadvantaged poor. His social conscience is developing through his suffering (Lear) Act 3, Scene 4, l.32–3 and affliction.

Let me wipe it first; it smells of After encountering Poor Tom on the heath, the old king mortality universalises his view of life, seeing it as a tragic experience filled with disappointment and filial ingratitude. For Lear, human (Lear to Gloucester) Act 4, Scene 6, l.131 existence is repulsive, signified by his unwashed hand.

Robes and furred gowns Lear is now becoming conscious of the hypocrisy at court, where hide all wealth and position can often conceal wrongdoing. Appearance and reality contrast. Until now, the old king has already made (Lear to Gloucester) Act 4, Scene 6, l.159 serious mistakes because he did not understand this.

forget and forgive A humble Lear asks his youngest daughter’s forgiveness for his harsh treatment of her. His simple, dignified language contrasts (Lear to Cordelia) Act 4 Scene 7, l.86 with his over-blown rhetoric in earlier scenes when he behaved like a tyrannical patriarch.

Why should a dog, a horse, a rat, When confronted with the horror of his dead child, the have life,/ And thou no breath heartbroken father asks the universal question: Why? He at all? recognises the injustice of Cordelia’s death. His deep love for her gives the audience a more sympathetic view of him. (Lear) Act 5, Scene 3, l.315–6

2 Characterisation Characterisation King Lear

Gloucester’s Character

Key Quotes

this knave came something saucily Gloucester’s unfeeling and glib remark about Edmund’s birth into the world outside marriage betrays his tactless character. Is it any surprise that Edmund feels bitter? (Gloucester to Kent) Act 1, Scene 1, l.17–8

He cannot be such a monster The outraged father has been very easily duped by the hypocritical Edmund into condemning his true son Edgar, (Gloucester on Edgar) Act 1, Scene 2, l.88 without giving him any chance to defend himself.

These late eclipses in the sun and Gloucester is highly superstitious; instead of accepting moon portend no good to us responsibility for his actions, he blames planetary movements.

(Gloucester to Edmund) Act 1, Scene 2, l.96–7

I would have all well betwixt you The cautious court diplomat tries ineffectually to smooth relations between the enraged king and his ungrateful (Gloucester to Lear) Act 2, Scene 4, l.116 daughters.

I stumbled when I saw The earl now recognises his great mistake in harshly judging his true son Edgar. Ironically, it is only now that he is blind that he (Gloucester to Old Man) Act 4, Scene 1, l.19 sees the truth about his children.

As flies to wanton boys are we to Gloucester’s depressing view of a universe of random cruelty the gods./ They kill us for their is vividly captured in the simile of malicious boys tearing the sport wings off helpless insects for their own amusement.

(Lear) Act 3, Scene 4, l.32–3

But his flawed heart,/ Alack, too Like Lear, Gloucester dies of heartbreak. His reunion with Edgar weak the conflict to support!/ is impossible to bear and he is overwhelmed by conflicting ’Twixt two extremes of passion, joy feelings of happiness and sorrow. He has been punished harshly and grief,/ Burst smilingly for his errors of judgement and dies in a frenzy of emotion.

(Edgar describes Gloucester’s death) Act 5, Scene 3, 202–5

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Cordelia’s Character

Key Quotes

I love your majesty/ According to Lear’s youngest daughter refuses to take part in the ‘love test’. my bond Cordelia is a restrained, sensible person – and as stubborn as her father. She loves him as a daughter should and will not indulge (Cordelia to Lear) Act 1, Scene 1, l.89–90 the old king in a public charade of false feeling.

I want that glib and oily art,/ Cordelia tries to reason with the infuriated Lear, who has To speak and purpose not disowned and disinherited her for disobedience. Unfortunately, she fails to get him to understand that words are cheap and not (Cordelia to Lear) Act 1, Scene 1, l.223–4 always followed by the actions they promise.

Use well our father Before Cordelia leaves court with the King of France, she warns her sisters to treat her father well, despite his cruel treatment of (Cordelia to Goneril and Regan) Act 1, Scene 1, l.270 her. She is fully aware of their cold-blooded natures and fears for her father’s safety. Cordelia is never afraid to speak her mind.

O dear father,/ It is thy business Shakespeare makes it clear to the audience that Cordelia has that I go about arrived at Dover with French troops not to conquer Britain but to help her distressed father. Once again, she is proving the truth of (Cordelia) Act 4, Scene 4, l.23–4 her statement that she loves her father as she should.

Was this a face to be opposed Cordelia speaks eloquently to her sleeping father and shows against the warring winds? deep and genuine affection for him. She is appalled at the savage treatment of the old king at the hands of his two (Cordelia to Lear) Act 4, Scene 7, l.32–3 ungrateful daughters whom she always suspected would behave in this way.

No cause, no cause When her father awakens, Cordelia reverts to her restrained mode of speech. She forgives the old king readily for his harsh (Cordelia to Lear) Act 4, Scene 7, l.77 mistreatment of her and refuses to accept that she should punish him.

4 Characterisation Characterisation King Lear

Edmund’s Character

Key Quotes

Why brand they us/ With base? Edmund is deeply hurt by the way he is treated by society because of the circumstances of his birth. He is made to feel (Edmund) Act 1, Scene 2, l.9–10 inferior even by his father and is not entitled to inherit anything. He argues that it is unfair for him to be deprived.

it is a letter from my brother, that In the first of many acts of subterfuge, Edmund pretends to hide I have not all over-read a letter that he eventually says is from his brother. This makes Gloucester curious and he insists on seeing it. The audience is (Edmund to Gloucester) Act 1, Scene 2, l.36–7 aware that Edmund has both written and signed it to incriminate Edgar.

My practices ride easy There is no denying Edmund’s persuasive powers. He himself is well aware of how clever he is, and takes great delight in (Edmund) Act 1, Scene 2, l.168 outwitting his naive father and trusting brother.

Edmund, I hear that you have Gloucester has been so convinced by Edmund’s lies that he has shown your father/ A child-like praised him to Cornwall, who further rewards him. Audiences are office left aghast at Edmund’s effrontery. But is he a victim as well as a villain? (Cornwall to Edmund) Act 2, Scene 1, 106–7

If I find him comforting the king, it Not content with inheriting Gloucester’s wealth and lands, will stuff his suspicion more fully Edmund betrays his unfortunate father to Cornwall in order to gain advancement. He uses every opportunity to advance his (Edmund) Act 3, Scene 5, l.17–8 own interests.

To take the widow/ Exasperates, Both sisters are in love with Edmund. Regan has lost her makes mad her sister Goneril / And husband, so if Edmund chooses her, he can marry her and hardly shall I carry out my side,/ become Duke. But this will anger Goneril. However, Goneril has a Her husband being alive husband, so Edmund would not be able to advance himself if he chose her. Focused only on his hunger for power, Edmund never (Edmund) Act 5, Scene 1, l.60–3 mentions his feelings or theirs.

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To pluck the common bosom on Always aware of consequences, Edmund has ordered Lear and his side Cordelia to prison in case they become a catalyst for dissent among the people of England, who might become sympathetic (Edmund to Albany) Act 5, Scene 3, l.51 to their plight. What he fails to explain to Albany is that he has already ordered their execution.

In wisdom I should ask thy name Edmund operates outside all the conventions of society because he feels rejected. He is entitled to know the name of his (Edmund dismisses the champion – Edgar in disguise) opponent in the duel, but he is over-confident and recklessly Act 5, Scene 3, l.145 refuses this privilege.

Yet Edmund was beloved Edmund is satisfied that he was truly valued because both sisters have died for love of him. Did he feel unappreciated and (Edmund) Act 5, Scene 3, l.246 unwanted before? Has he always felt inferior?

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Edgar’s Character

Key Quotes

Some villain hath done me wrong Ironically, Edgar recognises the reality of his situation and confides his concerns to the person who has secretly (Edgar to Edmund) Act 1, Scene 2, l.152 engineered it.

I will preserve myself, and am Having been outlawed by Gloucester and fooled by Edmund’s bethought / To take the basest schemes, Edgar resolves to re-invent his life by adopting the and most poorest shape disguise of a Bedlam beggar, a penniless former inmate of a mental asylum who was licensed to roam the countryside and (Edgar) Act 2, Scene 3, l.6–7 beg.

Do Poor Tom some charity, whom Poor Tom/Edgar asks for food and complains that he is the foul fiend vexes tormented by the devil. The sight of this demonic madman has a profound effect on Lear. Modern audiences often have trouble in (Poor Tom to Lear) Act 3, Scene 4, 56–7 understanding Edgar’s character changes.

When we our betters see bearing This is one of Edgar’s many stoical pronouncements. His our woes,/ We scarcely think our experiences have taught him that when the powerful and those miseries our foes in important positions are seen to suffer, it is easier for ordinary people to endure sorrow. Again, today’s audiences can find his (Edgar) Act 3, Scene 6, 100–1 statements cold.

A plot upon her virtuous Throughout the play, Edgar has stubbornly pursued the truth. His husband’s life, / And the exchange persistence pays off when he discovers Goneril’s incriminating my brother! letter outlining a plot to kill her husband and take Edmund as her partner. (Poor Tom/Edgar to Gloucester) Act 4, Scene 6, l.265–6

The weight of this sad time we Edgar has become much wiser and more heroic. At the end must obey;/ Speak what we feel, of the play, he offers some hope after all the devastation and not what we ought to say tragedy. Here he recommends endurance and transparency in government – something which he believes will create a new (Edgar to Albany) Act 5, Scene 3, l.333–4 and fairer society when he becomes king.

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Goneril and Regan

Key Quotes

A love that makes breath poor and Goneril enthusiastically takes part in Lear’s ‘love test’ in order speech unable to win a share of his kingdom. Her excessive fawning, although deeply insincere, fools her gullible father. She is a subversive (Goneril to Lear) Act 1, Scene 1, l.56 character who tells the old king exactly what he craves to hear.

Only she comes too short An equally hypocritical Regan tries to outdo her sister in this bizarre show of filial love. Each sister is desperately trying to (Regan to Lear) Act 1, Scene 1, l.69 gain as much of Lear’s wealth and lands as possible.

Prescribe not us our duties There is no love lost in Lear’s family. Angry at Cordelia’s criticism of their hypocrisy, Regan is already assuming power and (Regan to Cordelia) Act 1, Scene 1, l.275 dismisses her younger sister, who refused to flatter their father. Like Goneril, Regan has inherited Lear’s tendency to bully others.

It is the infirmity of his age The scheming sisters agree that Lear’s judgement has become weakened by age. While this is a true statement, it is being (Goneril to Regan) Act 1, Scene 1, l.290 maliciously used to justify their betrayal of the king.

Let’s hit together Initially, Goneril gives a lead in undermining Lear’s influence and power. Her ruthless determination is evident in her tone. (Goneril to Regan) Act 1, Scene 1, l.300 The stronger older sister suggests a combined plot against their father.

He may enguard his dotage with Keen to retain control of Britain, Goneril tells Albany of her their powers,/ And hold our lives fears about Lear’s remaining power base (his loyal supporters in mercy throughout the country). She suggests that both she and her husband are facing imminent danger – yet another ploy to justify (Goneril to Albany) Act 1, Scene 4, l.314–5 the sisters’ treacherous attack on Lear.

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He is attended with a desperate The duplicitous sisters, who share many character traits, and train are united in their challenge against Lear. Just as Goneril had turned Albany against Lear, Regan warns Cornwall about the (Regan to Cornwall) Act 2, Scene 4, l.302 threat posed by the king’s followers. Both women control and manipulate their husbands.

nor thy fierce sister/ In his The duplicitous sisters, who share many character traits, and anointed flesh stick boarish fangs are united in their challenge against Lear. Just as Goneril had turned Albany against Lear, Regan warns Cornwall about the (Gloucester to Regan) Act 3, Scene 7, l.55–6 threat posed by the king’s followers. Both women control and manipulate their husbands.

My lord is dead. Edmund and I The two jealous sisters are in open competition for Edmund’s have talked love. Regan has become even more ambitious and determined than Goneril. She argues that she is a more suitable wife for (Regan to Oswald) Act 4, Scene 5, l.30 Edmund now that Cornwall, her husband, is dead.

the laws are mine, not thine A defiant Goneril, when challenged by Albany about her incriminating letter to Edmund, adopts Lear’s fierce (Goneril to Albany) Act 5, Scene 3, l.163 authoritarianism. She is the country’s ruler, so who can dare to challenge her actions?

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The Fool’s Character

Key Quotes

Sirrah, you were best take my The Fool keeps trying to get Lear to see the error of his ways. He coxcomb attempts to make the degraded monarch realise his gross error in giving up power and leaving himself without a roof over his (Fool to Lear) Act 1, Scene 4, l.87 head. For that, Lear should be wearing a fool’s hat.

All thy other titles thou hast given Always a seeker of the truth, the Fool repeatedly strives to away; that thou wast born with bring Lear to some sort of self-awareness. The deluded king has surrendered all authority. Ironically, the only title he now has is (Fool to Lear) Act 1, Scene 4, l.135–6 that of fool.

they will make an obedient father Angry at Lear’s elder daughters’ treatment of their father, the Fool comments on how the natural order has been inverted. (Fool to Lear) Act 1, Scene 4, l.219 Instead of dutiful daughters, there is now an obedient father. They now have all the power and Lear must do what they say.

This cold night will turn us all to The Fool is a professional madman. His function is to ridicule fools and madmen pretension and hypocrisy. As Lear’s court jester, he has the freedom to tell his master unpleasant truths. Ironically, as the (Fool) Act 3, Scene 4, l.74 king loses all reason, he will discover the truth for himself.

And I’ll go to bed at noon This is the jester’s witty reply to Lear’s assertion that he will ‘go to supper in the morning’. The whole natural order has been (Fool) Act 3, Scene 6, l.82 overturned. The Fool understands that true madness is believing that the world at large is sane. In addition to being the king’s loyal supporter, he has been a social commentator throughout the play. These are the Fool’s final words – perhaps he knows that his work is done.

10 Characterisation Characterisation King Lear

Kent’s Character

Key Quotes

be Kent unmannerly,/ When Lear Unlike anyone else in the court, Kent is loyal and courageous is mad enough to challenge the deluded king. He is the only courtier to defend Cordelia, which he does by issuing a blunt warning about (Kent to Lear) Act 1, Scene 1, l.142–3 Lear’s reckless actions.

See better, Lear; and let me still Kent, the Fool and Cordelia all try to stop Lear’s folly in dividing remain/ The true blank of thine his kingdom. Kent wants to remain at court as Lear’s devoted eye adviser. The imagery of sight is a recurrent thread through the play. (Kent to Lear) Act 1, Scene 1, l.155–6

I do profess to be no less than I The disguised Kent, now Caius, has changed his appearance and seem speech. He has returned to help Lear in the old king’s time of need. Ironically, Kent declares that he is as he appears. This is in (Kent to Lear) Act 1, Scene 4, l.12 sharp contrast to the evil deception rife in Lear’s court.

deliver a plain message bluntly Kent requests a position in Lear’s entourage. Remembering what has just happened during the ‘love test’, he is well aware that (Kent to Lear) Act 1, Scene 4, l.30 he is one of the few people around Lear who has a capacity for speaking his mind honestly.

Fortune, good night. Smile once Imprisoned in the stocks for his unruly behaviour, Kent more, turn thy wheel philosophically waits for fate to change his circumstances. Later in the play, Edmund also uses this image of the wheel of fortune. (Kent) Act 2, Scene 2, l.164

Is this the promised end? A horrified Kent sees his distraught master carrying Cordelia’s body in his arms. Despite all his care and devotion, he has (Kent) Act 5, Scene 3, l.270 failed to prevent this appalling tragedy, in which the good have suffered along with the wicked.

Break, heart; I prithee, break! The inconsolable Lear is trying to convince himself that his youngest daughter might still be alive. Kent does not want to (Kent) Act 5, Scene 3, l.321 see his master continue suffering so grievously and wishes him the peace of death.

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Albany and Cornwall

Key Quotes

Striving to better, oft we mar Albany is an essentially moral character, restrained and mild- what’s well mannered. To some extent, he is an indecisive man who means well but is ineffectual. Unlike his wife, he seems to be more (Albany to Goneril) Act 1, Scene 4, l.334 interested in peace than in power.

Milk-livered man! Albany has never been respected by his wife, who sees him as pathetic and effeminate. Goneril views her husband’s gentleness (Goneril to Albany) Act 4, Scene 2, l.51 as weakness and is much more attracted to Edmund.

You know the fiery quality of the Gloucester still thinks the best of Cornwall and is hoping that duke Lear can avoid further trouble. His fears about the duke’s ‘fiery’ temper are well founded. (Gloucester) Act 2, Scene 4, l.88

Fetch forth the stocks! Cornwall’s ambition is matched by his ruthlessness. His decision to publicly humiliate Lear’s servant Caius (Kent) clearly shows (Cornwall) Act 2, Scene 2, l.116 how power has corrupted him.

Out, vile jelly! Shakespeare uses this repugnant act – the appalling blinding of Gloucester – to illustrate Cornwall’s sadistic character and (Cornwall) Act 3, Scene 7, l.81 to highlight the fine line that exists between civilisation (associated with people in power) and savagery.

You are not worth the dust which Albany finally gets the courage to confront his wife about her the rude wind/ Blows in your face mistreatment of the king, her father. Basically cautious and slow to act, it has taken him a long time to face the truth. (Albany to Goneril) Act 4, Scene 2, 31–2

Our present business/ is general After so much tragedy and suffering, Albany reflects the woe appropriate tone of dignified mourning – both on a personal and a public level. Almost overwhelmed by the events that he (Albany) Act 5, Scene 3, l.327–8 has witnessed, he seems to be in a state of shock towards the end of the play.

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