KING LEAR.' ACT SCENE I-A Room of State in King LEAR'S Palace. Enter KENT, GLOSTER, and EDMUND. Kent. I thought the king had more affected the Duke of Albany? than Cornwall. Glo. It did always seem so to us : but now, in the division of the kingdom, it appears not which of the dukes he values most; for equalities are so weighed, that curiosity in neither can make choice of either's moiety.4 Kent. Is not this your son, my lord? Glo. His breeding, sir, hath been at my charge: I have so often blushed to acknowledge him, that now I am brazed to 't. Kent. I cannot conceive you. Glo. Sir, this young fellow's mother had a son I. Kent. I cannot wish the fault undone, the issue of it being so proper. Glo. But I have a son, sir, by order of law, some year elder than this, who yet is no dearer in my account: though this knave came somewhat saucily into the world before he was sent for, yet was his mother fair; there was good sport at his making, and the son must be acknowledged.--Do you know this noble gentleman, Edmund? Edm. No, my lord. Glo. My lord of Kent: remember him hereafter as my honourable friend. Edm. My services to your lordship. Kent. I must love you, and sue to know you better. Edm. Sir, I shall study deserving. Glo. He hath been out nine years, and away he for her cradle ere she had a husband for her bed. | shall again.—The king is coming. 1. The earliest known printed copies of this sublime drama are three Quarto editions, published in 1608; but they vary, in many particulars, from the text of the play as it appears in the Folio 1623. These variations have all the effect of curtailments made for stage representation; as they consist chiefly of passages which it is not likely that the writer of the tragedy would have cancelled from any other consideration. As manager, he may have sanctioned their omission; as author, certainly not; for they possess beauty of diction, development of character, and dramatic fitness. Therefore, it is matter of immense gratulation that these Quarto copies exist, where the original passages are preserved, as well as the Folio copy; which, together, afford means of giving the text as nearly as possible in accordance with what Shakespeare first penned. Under the date November 26th, 1607, the "Stationers' Registers" contain this memorandum"Na. Butter and Jo. Busby] Entered for their copie under t' hands of Sir George Bucke, Kt., and the Wardens, a booke called Mr. Willm. Shakespeare, his Hystorie of Kinge Lear, as it was played before the King's Majestie at Whitehall, upon St. Stephen's night at Christmas last, by his Majesties Servants playing usually at the Globe on the Bank-side:" thus proving that it was acted at court on the 26th of December, 1606. The three Quarto editions, published in the course of the very next year, show how immediately this grand drama became popular. [Sennet within. The period of its composition has been pointed out as in all probability subsequent to 1603; because Harnet's "Discovery of Popish Impostures" appeared at that date; and the names of the fiends mentioned by Edgar are evidently derived from that work. Hints for the materials of his plot Shakespeare very likely obtained from Geoffrey of Monmouth, Holinshed, "The Mirror of Magistrates," Spenser's "Faerie Queene," book ii., canto 10: Sidney's "Arcadia," book ii., chap. x. ; and perhaps from an old anonymous play on the subject, entitled "The True Chronicle History of King Leir, and his Three Daughters, Gonorill, Ragan, and Cordella;" perhaps also from the "Gesta Romanorum," the "Romance of Perceforest,” and an old ballad called "King Leir and his Three Daughters," of which there is a version in Percy s "Reliques." However this may be, certain it is that the story was popularly known in our poet's time; and he treated it in his own super-potential style, producing, perhaps, the loftiest portrayal of tragic passion ever delineated by human hand. Enter LEAR, CORNWALL, ALBANY, GONERIL, REGAN, CORDELIA, and Attendants. Lear. Attend the lords of France and Burgundy, Gloster. Glo. I shall, my liege. [Exeunt GLOSTER and EDMUND. Lear. Meantime we shall express our darker purpose.®—— Give me the map there.-Know that we have divided In three our kingdom: and 'tis our fast intent? And you, our no less loving son of Albany, Great rivals in our youngest daughter's love, Long in our court have made their amorous sojourn, And here are to be answer'd.-Tell me, my daughters, (Since now we will divest us, both of rule, Which of you shall we say doth love us most? Gon. Sir, I love you more than words can wield the matter; Dearer than eye-sight, space, and liberty; 6. We shall express our darker purpose. 'We shall now disclose our hitherto unexplained intention.' Lear has already declared that he shall make "division of the kingdom," as we find from Gloster's first speech; but he here lets it be understood that the equal shares, in which he has been supposed to have divided it, are subject to an ulterior decision on his own part, and that he will make this decision greatly depend upon the amount of love felt for him by each of his three daughters, who are to receive their respective shares in relative proportion to their professed affection. So irrational a scheme serves well to show, at the very outset of the play, how unsound is the old king's judgment, and how already touched with a diseased perversion is his understanding; a mental condition that has resulted from a long course of irresponsible power and uncurbed self-will, and which is but the commencement of that insanity which ultimately breaks out into complete madness. 7. Fast intent. 'Firm intention.' 8. Constant. Here used in the sense of 'steadfast,' 'determined,' 'resolute.' See Note 91, Act ii., "Julius Cæsar." 9. We will divest us, both of rule, interest of territory, cares of state. Here, as elsewhere, Shakespeare uses "both" in reference to more than two specified objects. See Note 69, Act iv., "Winter's Tale." 10. Beyond all manner of so much I love you. 'Beyond all power of saying how much I love you,' 'beyond all means of stating that so much I love you.' Here so much" is used idiomatically, to signify an indefinite amount or quantity. No less than life, with grace, health, beauty, honour; As inuch as child e'er lov'd, or father found; A love that makes breath poor, and speech unable; Beyond all manner of so much I love you.10 Cor. [Aside.] What shall Cordelia do? Love, and be silent. Lear. Of all these bounds, even from this line to this, With shadowy forests and with champains11 rich'd, Reg. I am made of that self metal12 as iny sister, And prize me at her worth. 13 In my true heart of sense possesses; Then poor Cordelia! And yet not so; since, I am sure, my love's More richer 16 than my tongue. Lear. To thee and thine, hereditary ever, Remain this ample third of our fair kingdom; No less in space, validity, and pleasure, Than that conferr'd on Goneril.—Now, our joy, Although our last, not least; to whose young love The vines of France and milk of Burgundy Strive to be interess'd; 18 what can you say to draw Compare the mode in which it is employed in the passages referred to in Note 32, Act ii., "Timon of Athens," and Note 36, Act v., "Julius Cæsar." 11. Champains. Open stretches of country;' 'extensive tracts of land.' See Note 112, Act ii., "Twelfth Night." "Rich'd" is an abbreviated form of 'enriched.' 12. I am made of that self metal. express' self-same.' 13. And prize me at her worth. equal to her in amount of affection.' "Self" is here used to 'And I reckon myself 14. She comes too short,-that I profess. Here "that" is elliptically used for 'in that,' or 'inasmuch as.' Shakespeare often uses "that" with considerable force of ellipsis. See, among others, Note 121, Act i., "All's Well;" Note 13, Act i., "Henry VIII. ;" and Note 6, Act i, “Macbeth." 15. Square. Here employed to express that which comprises; 'complement,' 'compass.' ་ 16. More richer. This is the Quarto reading: while the Folio gives more ponderous.' The word "richer" forms the antithesis to "poor," in the penultimate line; and Shakespeare has frequently antithetical style, as well as occasionally a double comparative. 17. Validity. 'Value.' See Note 5, Act i., "Twelfth Night." 18. Interess'd. This word was used in Shakespeare's time; being derived from the French, interessé, while interested' is derived from the Latin, interest. Cor. Nothing. Act I. Scene 1. Lear. How, how, Cordelia! mend your speech a little, Lest you may mar your fortunes. Cor. Good my lord, Lear. Nothing will come of nothing: speak You have begot me, bred me, lov'd me: I again. Cor. Unhappy that I am, I cannot heave My heart into my mouth: I love your majesty According to my bond; nor more nor less. 19. What can you say to draw a third more opulent than your sisters? 'Have drawn' is elliptically understood after "sisters." The appeal here made by Lear again affords token of his already unsound mind: he puts forth the very last inducement that would be likely to move so disinterested a nature as Cordelia's into a declaration of attachment, and he talks of giving her "a third more opulent," when he has already given an "ample third" to his second daughter that equals the first third given to Goneril. This confusion of division in allotment-giving two large thirds, and then thinking that Return those duties back as are right fit, he has in reserve a third still larger to bestow-is quite the resentment. Ay, good my lord. Lear. So young, and so untender? For, by the sacred radiance of the sun, From whom we do exist, and cease to be; Hold thee, from this,21 for ever. The barbarous 20. Mysteries. The first Folio prints 'miseries,' the Quartos print 'mistresse' here. Corrected in the second Folio. 21. From this. 'From this time,' 'from henceforth.' 22. Scythian. Some writers have represented that the Scythians fed upon human flesh. 23. His generation. Here used to express 'those whom he has generated;' his children. 24. Hence, and avoid my sight! This, by some, is believed to be parenthetically addressed to Cordelia; by others, to Kent. It is to be observed that he has already bidden Kent stand aside, while, on the contrary, he immediately sends for France and Burgundy, that he may offer Cordelia to either of their acceptance; and as for the argument that Kent did not deserve such treatment from the king-having as yet said no more than "Good my liege"-Lear's ire at any one who offers to "come between the dragon and his wrath" is sufficiently impetuous to account for his hurling these words at his faithful counsellor, with quite as much (or as little) reason as at his reticent daughter. 25. All the additions to a king. All the titles belonging to a king.' See Note 109, Act i., "Hamlet." 26. Execution of the rest. An elliptical expression; implying 'execution of those offices which belong to a king, and which remain for him to perform.' 27. Coronet. Sometimes, as here, used for 'crown.' See Note 49, Act v., "First Part Henry VI." 28. When Lear is mad. This affords obvious corroboration of our view respecting the author's intention; it serves to manifest how insane the king's conduct is thought by his faithful friend. 29. Reverse thy doom. This is the reading of the Quartos; while the Folio gives 'reserue thy state.' 30. Answer my life my judgment. Let my life be answerable for my judgment;' 'I will stake my life on the correctness of my conviction.' 31. Reverbs. A poetically abbreviated form of 'reverberates. 32. As a pawn to wage against. 'As a pledge to stake against.' See Note 81, Act v., Hamlet." 33. Blank shooters aimed. This was the term for the white mark at which See Note 7. Act iv., "Hamlet." Kent figuratively says, 'Let me still serve as the point which guides your sight, and aids you to direct your surmises correctly. |