King Lear

SCENE-BY-SCENE ANALYSIS

ACT 1 SCENE 1

Relationships between key characters are established. Several themes are introduced: power/authority, deception, nature, kinship, sanity, and sight.

Lines 1–33: Kent and Gloucester discuss Lear. Edmund is introduced. Gloucester insists that Edmund is as dear to him as his older, legitimate, son, Edgar, and claims that “the whoreson must be acknowledged.” The bawdy language used to describe Edmund’s conception undermines the good intentions behind this.

Lines 34–193: A trumpet flourish emphasizes the ceremonial, public nature of events from this point. Instructing Gloucester to fetch France and Burgundy, Lear reveals his “darker purpose”—to allocate a piece of kingdom to each of his three daughters, intending the “largest bounty” to whoever “doth love [him] most.” This reveals Lear’s inability to separate public and domestic and highlights his perception of emotions as subject to pecuniary measurement. Tensions exist between his love of power and his portrayal of himself as an old man who wishes to “Unburdened crawl toward death.”

Goneril’s speech is effusive but ambiguous, as she declares that she loves her father “more than word can wield the matter.” Regan is similarly flattering but ambiguous, telling Lear to “prize” her at Goneril’s “worth,” as she is “made of that self-mettle” as her sister. Cordelia’s asides show her dilemma—she is torn between genuine love for her father and reluctance or inability to voice this before the court. She is offered “a third more opulent” than her sisters—unlike Gloucester, Lear does not even suggest he values his daughters equally. In contrast to her sisters, Cordelia’s response is simply “Nothing.” Lear encourages her to say more, because “Nothing will come of nothing,” a concept that is explored throughout the play. Lear disinherits Cordelia, and Kent’s attempts to speak up for her fuel his anger.

Retaining a hundred knights, Lear divides his kingdom between Goneril and Regan, intending to live with each of them for alternate months. Kent intervenes, showing respect for Lear, but suggesting that he is not thinking clearly and urging him to “check / This hideous rashness.” Lear banishes Kent.

Lines 194–281: Lear explains to the King of France and Duke of Burgundy that Cordelia’s “price is fallen.” She is no longer “dear” to him, a word that highlights his belief that love is quantifiable. Burgundy cannot decide, so Lear offers his daughter to France but says he would not want him to marry a “wretch” that “Nature is ashamed” of. France asks what Cordelia’s “monstrous” offense is and she asks Lear to make it clear that it is lack of the “glib and oily art” of false speech. Burgundy says that he will take her with her original dowry. Echoing Cordelia, Lear declares that this is “Nothing,” so Burgundy declines. France sees Cordelia’s virtues and comments that “unprized precious” Cordelia is “most rich, being poor,” highlighting France and Lear’s differing perceptions of “worth,” and challenging Lear’s assertion that “Nothing will come of nothing.”

Lines 282–299: Leaving with France, Cordelia says goodbye “with washèd eyes,” suggesting tears but also clear perception of her sisters’ characters.

Lines 300–323: Goneril and Regan discuss Lear’s “poor judgement” and the “changes” and “infirmity” of his old age, but Regan observes that “he hath ever but slenderly known himself.” Goneril expresses concern about Lear’s desire for authority. Regan agrees that they must “think” about this, but Goneril says that they “must do something,” highlighting a subtle difference between them.

ACT 1 SCENE 2

Lines 1–22: Edmund is angry that he will not inherit. He protests about the label “base” and argues that he is as good as “honest madam’s issue”—better, even, because there was passion in his conception. He reveals his designs on Edgar’s inheritance.

Lines 23–107: Edmund conceals a letter from Gloucester in a way that draws attention to it. He tells Gloucester it is “Nothing,” but then pretends that it is from Edgar. Gloucester reads its contents, which suggest that Edgar and Edmund should murder Gloucester and split the inheritance. Edmund manipulates Gloucester, who is easily persuaded that Edgar is an “unnatural” villain. Edmund pretends to plead on Edgar’s behalf and arranges that Gloucester will overhear a conversation between them. Gloucester exits, blaming all the problems in family and state on “These late eclipses in the sun and moon.”

Lines 108–161: Edmund is scornful of those who believe that destiny is decided by the stars and blame their “evil” on “a divine thrusting on,” thus raising a debate between free will and fate, as he claims that the stars have no influence on his personality or fortune. Edgar interrupts and Edmund changes behavior on “cue,” suggesting his directorial role in the action. He persuades Edgar that Gloucester is angry with him and suggests that they avoid meeting. Giving Edgar the key to his lodging, he promises to help.

ACT 1 SCENE 3

Goneril and her steward Oswald discuss Lear’s irrational temper. She gives instructions to say that she is ill and cannot see Lear and that the servants are to ignore him.

ACT 1 SCENE 4

Lines 1–89: Kent is disguised, but while his appearance has changed, his nature has not—he is still an “honest-hearted fellow.” Not recognizing him, Lear employs Kent and asks Oswald for Goneril, but is ignored. One of Lear’s knights says that Oswald refuses to come back, that Goneril is unwell, and points out that Lear has been neglected recently. When Oswald reappears, he is disrespectful and Lear loses his temper. Kent trips Oswald up and insults him, earning Lear’s thanks.

Lines 90–174: Lear’s Fool delivers a series of jokes, riddles, nonsense, and rhymes. These have comic effect, but they are also ambiguous, providing perceptive comment on Lear’s circumstances and reinforcing some key themes such as cruelty, division, and folly. In the Quarto text, Kent comments that “This is not altogether fool my lord.”

Lines 175–297: Goneril lists her grievances. Lear’s temper and language become wilder, suggesting the growing disquiet of his mind. The interjections of the Fool, combining nonsense and wisdom, contribute to the growing disorder. Albany ineffectually attempts to calm Lear, who curses Goneril with either sterility or the future birth of a “child of spleen.” He leaves. Goneril ignores Albany, showing where the power lies in their relationship. Lear returns, having discovered that Goneril has reduced his train of knights by fifty. Despite uncontrollable anger, his tears suggest weakness. He decides to go to Regan, saying she will “flay” Goneril’s “wolfish visage”—an example of the animal imagery associated with the two sisters.

Lines 298–325: Goneril claims it is unwise to allow Lear to enforce the whims of his old age, and calls Oswald to take a letter to Regan. She criticizes Albany for his “milky gentleness.”

ACT 1 SCENE 5

Lear sends letters to Gloucester with Kent, then struggles against madness as he talks to his Fool.

ACT 2 SCENE 1

Lines 1–91: Edmund urges Edgar to escape, suggesting that Cornwall believes Edgar is plotting against him, and that Gloucester is in pursuit. Edmund directs Edgar’s flight, pretending that he is helping, but convincing Gloucester’s party that he is trying to stop him. He wounds his own arm and tells Gloucester that Edgar stabbed him when he refused to help Edgar. Gloucester tells “Loyal and natural” Edmund that he will make him his heir.

Lines 92–140: Gloucester confirms Cornwall and Regan’s queries about Edgar. Cornwall praises Edmund, takes him into his service, then begins to explain their arrival. Regan interrupts, showing her dominance, and claims that she wanted Gloucester’s advice on letters from Lear and Goneril.

ACT 2 SCENE 2

Lines 1–144: Outside Gloucester’s castle, Oswald claims not to know the disguised Kent, who insults and beats him. While Cornwall attempts to establish how the quarrel started, Kent continues to insult Oswald, who explains that Kent (who calls himself “Caius”) is in Lear’s service. Cornwall comments on Kent’s plain-spoken nature, but ironically assumes that his “plainness / Harbour[s] more craft and more corrupter ends” and places him in the stocks. In the Quarto text, Gloucester argues stocks are for “basest and “temnest wretches” and it is insulting to Lear to punish his messenger in them.

Lines 145–166: Gloucester apologizes and says that he will plead for Kent’s release, but Kent says not to. Kent’s soliloquy reveals that he has a letter from Cordelia.

Lines 167–187: Edgar intends to disguise himself as a mad beggar from Bedlam. Edgar’s soliloquy and the following sequence are sometimes edited and played as separate scenes, but the action continues uninterrupted in that Kent remains onstage asleep in the stocks.

Lines 188–271: Lear will not believe that Regan and Cornwall have put Kent in the stocks—it is an “outrage” “upon respect.” Fighting his rising anger, Lear goes to confront them. The Fool comments on Kent’s folly in continuing to serve Lear.

Lines 272–383: Enraged that Regan and Cornwall will not speak with him, Lear sends Gloucester to summon them. His language reflects his growing disturbance, which he fights to suppress—“my rising heart! But, down!” When they arrive, Lear pours out his grievances against Goneril. Regan responds in a reasoned but insulting manner, saying that Lear is old and needs to be “ruled and led,” and suggests that he ask Goneril’s forgiveness. Lear’s pride and anger rise, but he thinks Regan will acknowledge the “dues of gratitude” that he has bought with “half o’th’kingdom.”

Lines 384–515: Goneril and Regan unite against Lear, gradually reducing his number of knights—a symbol of his power—until he has nothing. He reminds them of what they owe him—“I gave you all.” When Regan asks whether Lear needs even one follower, he replies “O, reason not the need! Our basest beggars / Are in the poorest thing superfluous: / Allow not nature more than nature needs, / Man’s life is cheap as beast’s.” The encounter of king and beggar, the question of “superfluity,” and the stripping down from courtly accoutrements to raw nature are at the core of the play. Lear asks the heavens for patience, but the growing storm reflects his turbulent mind and he leaves in “high rage” to go out onto the heath. Goneril, Regan, and Cornwall tell Gloucester to shut his doors against Lear and the storm.

ACT 3 SCENE 1

In this act, the relatively brief and fast-paced scenes move between different locations and characters. This, combined with the evocation of the storm, creates a sense of chaos that mirrors the breakdown of Lear’s reason and kingdom.

Kent learns that Lear is on the heath in the storm with the Fool. He reveals that the French have spies in the courts of Cornwall and Albany, between whom dissension is growing. Kent gives the Gentleman a ring to show to Cordelia as confirmation of his true identity.

ACT 3 SCENE 2

Lear’s disordered speech reflects his mental state as he invokes nature to destroy mankind and “Strike flat the thick rotundity o’th’world.” In his chaotic speeches there are recurrent references to children, ingratitude, and justice as he blames his daughters for his situation. The Fool encourages Lear to shelter, commenting that the “night pities neither wise men nor fools,” drawing attention to the blurred distinctions between wisdom and folly, sanity and insanity. Lear rages about justice, still denying any responsibility and asserting that he is “a man / More sinned against than sinning.” Kent persuades him to take shelter in a nearby hovel while he begs Goneril and Regan for shelter. Alone, the Fool speaks a rhymed “prophecy” that perhaps transcends the context of the play, warning against the injustices and corruption of “Albion” (Britain).

ACT 3 SCENE 3

Gloucester has been refused permission to help Lear and has lost control of his castle. He reveals that Edmund has a letter concerning Cornwall and Albany locked in his closet, and that he intends to help Lear. He asks Edmund to tell Cornwall that he is ill, to prevent his assistance of Lear being discovered. Once alone, Edmund reveals his intention to betray Gloucester.

ACT 3 SCENE 4

Lines 1–103: Kent tries to persuade Lear to enter the hovel out of the storm, but Lear is more concerned with the “tempest” in his mind and remains outside, dwelling on “Poor naked wretches” who, “houseless” and “unfed,” have no defense against the elements. In a moment of brief self-awareness he declares: “O, I have ta’en / Too little care of this!” The Fool is frightened out of the hovel by Edgar, in disguise as the near-naked “Poor Tom.” In a pitiful and ironic contrast to the genuine insanity of Lear, “Tom” feigns madness through fragmented speech. Like the Fool’s nonsense, however, there are recognizable themes, pertinent to the play, such as lust, devilishness, and nakedness. Lear continues to dwell on his troubles, insisting that “Nothing” but “unkind daughters” could have “subdued nature / To such a lowness” in Tom. Asking “Is man no more than this?,” Lear removes his clothes, approaching the raw condition of “the thing itself: unaccommodated man.”

Lines 104–178: In a confused conversation that evokes the external storm and the “tempest” inside Lear’s head, Gloucester and Kent attempt to persuade Lear to enter Gloucester’s castle. Tom interjects with “insane” comments that focus on demons and witchcraft, but are taken by Lear to be the words of a “philosopher” and “learnèd Theban.” Ironically, Gloucester talks of Edgar and “poor banished” Kent.

ACT 3 SCENE 5

Edmund has betrayed Gloucester. Cornwall swears that he will have revenge and rewards Edmund by giving him his father’s title. Edmund pretends to be distressed at having to betray Gloucester, but plans to make it worse by discovering him “comforting the king.”

ACT 3 SCENE 6

Gloucester shows Kent, Lear, Tom, and the Fool into a farmhouse adjoining his castle. The dialogue is fragmented as Lear continues to focus on injustice, the Fool continues to produce sense in nonsense, and Edgar acts his part as madman. Kent’s voice of reason is unable to prevail. In a Quarto-only sequence, Lear insists on holding a “trial” of Goneril and Regan, seeing them before him in his madness. With Tom and the Fool as judges, this episode highlights the distorted nature of justice so far in the play. Edgar’s pity for Lear makes it hard to sustain his “counterfeiting,” and after Gloucester leads the others away, he rejects his disguise.

ACT 3 SCENE 7

Cornwall sends Goneril to tell Albany that France has landed, instructing Edmund to accompany her. Oswald informs Cornwall that Lear has gone to Dover. Gloucester is brought for questioning. Regan cruelly encourages the servant to bind Gloucester “hard” and disrespectfully plucks his beard. He admits that he sent Lear to Dover to protect him from Regan’s “cruel nails” and Goneril’s “boarish fangs.” Cornwall puts out one of Gloucester’s eyes. A servant tries to help Gloucester, but as Cornwall fights him, Regan seizes a sword—a symbol of her “unwomanly” power—and stabs the servant. Cornwall takes Gloucester’s other eye as Regan reveals that it was Edmund who betrayed him. Gloucester thus gains metaphorical “sight” as he is literally blinded. Regan orders Gloucester to be put out onto the heath to “smell / His way to Dover.” She leads the mortally injured Cornwall away. In the Quarto text, the remaining servants discuss Regan’s lack of womanly feeling, offer first aid to Gloucester and vow to get “the Bedlam” (Tom) to lead him to Dover.

ACT 4 SCENE 1

Edgar argues that even the “most dejected thing of fortune” can still have hope, but then he sees his blinded father and realizes he is “worse than e’er.” Gloucester shows self-awareness when he says that he “stumbled” when he saw, and ironically talks of his “dear son Edgar.” Gloucester blames the gods, to whom men are “As flies,” and who “kill us for their sport.” The old man leading Gloucester recognizes “Poor Tom” and Edgar realizes that he must remain disguised and “play fool to sorrow.” Gloucester wishes Tom to lead him to Dover, despite the old man’s protests, arguing that “ ’Tis the time’s plague, when madmen lead the blind.” Edgar’s pity for Gloucester means that he struggles to maintain his deception. Gloucester asks to be taken to the edge of Dover’s cliffs.

ACT 4 SCENE 2

Lines 1–31: Goneril wonders why Albany did not meet her. Oswald informs her that Albany has changed—he “smiled” to hear of the French army’s arrival and said “The worse” at Goneril’s return. He refuses to believe Gloucester’s treachery or Edmund’s loyalty. Goneril sends Edmund back, blaming Albany’s change on his “cowish terror.” She gives him a love token and kisses him, telling him to wait for “A mistress’s command.”

Lines 32–77: Albany and Goneril quarrel. In a Quarto-only sequence, Albany shows new strength as he berates Goneril for her treatment of her father, calling her and Regan “Tigers, not daughters”; she accuses him of cowardice, describing him as “a moral fool.” In the Folio’s edited version of their exchange, Goneril calls her husband a “Milk-livered man.” A messenger brings news of Cornwall’s death and Gloucester’s blinding; he delivers Goneril a letter from Regan. Albany is horrified and swears revenge on Edmund for his betrayal of Gloucester. Goneril shows mixed feelings at Cornwall’s death—Regan is less powerful as a widow, but she is also free to marry Edmund.

ACT 4 SCENE 3

In a Quarto-only scene, Kent and a Gentleman inform the audience that France has returned to his kingdom, leaving Cordelia in England. Kent asks for Cordelia’s reaction to his letter. The natural imagery—“Sunshine and rain at once: her smiles and tears”—shows her goodness and contrasts with the darker images of nature associated with Goneril and Regan. Kent comments that the differences between the sisters can only be accounted for by “the stars above” who “govern our conditions,” recalling the comments made about fate and free will by Gloucester and Edmund in Act 1 Scene 2. Lear is in Dover but refuses to see Cordelia because of his “burning shame” at his treatment of her.

The Folio text moves straight to a scene in which Cordelia marches onstage at the head of her army, informing the audience that Lear has been sighted, still mad, crowned with wildflowers and weeds. Cordelia sends soldiers to find him. A Gentleman (Doctor in Quarto) says that sleep will help Lear and that there are medicinal herbs that will achieve this—a benevolent image of nature that contrasts with the violent storm. A messenger brings news that the British are marching toward them and Cordelia makes it clear that France’s armies are not fighting for “blown ambition”—unlike Goneril and Regan—but for love of Lear.

ACT 4 SCENE 4

Albany’s army has set out, although Oswald says that it took “much ado” for Albany himself to join them and that Goneril “is the better soldier.” Oswald has a letter from Goneril to Edmund that Regan wishes to read, but Oswald refuses. Regan expresses concern at Goneril’s interest in Edmund and argues that he is better suited to her, because she is a widow. She asks Oswald to remind Goneril of this and tells him there is a reward for whoever kills Gloucester.

ACT 4 SCENE 5

Lines 1–93: Edgar persuades Gloucester that they are at a cliff top. Gloucester comments that Edgar’s “voice is altered.” With truthful irony, Edgar responds that he is changed in nothing but his garments. Gloucester delivers a suicide speech and then throws himself forward. Edgar pretends to have found him at the bottom of the cliff, claiming that it is a miracle he survived the fall. He asks who was with Gloucester at the cliff’s head, suggesting that “It was some fiend,” but that he has been spared by the gods. Gloucester resolves to “bear / Affliction.”

Lines 94–209: Lear appears dressed in flowers and talking nonsense, still fixated on his daughters. Gloucester recognizes his voice, but Lear does not recognize him, taking him for “Goneril with a white beard.” In a pitifully ironic exchange Lear claims to remember Gloucester’s eyes and demands that he read an imaginary challenge. Lear excoriates women for their sexual indulgence. He shows “reason in madness” as he talks of justice and how it is useless against sin that is plated “with gold.” Lear runs away from Cordelia’s attendants.

Lines 210–299: Edgar is leading Gloucester to safety, but Oswald finds them and tries to kill Gloucester. Under yet another persona, Edgar fatally wounds Oswald, who begs him to deliver a letter to Edmund. Edgar reads the letter from Goneril, urging Edmund to kill Albany so that she may marry him. Edgar buries Oswald, keeps the letter to show Albany, and leads Gloucester away.

ACT 4 SCENE 6

Cordelia thanks Kent and asks him to change out of his disguise. Kent replies that he has a reason to remain as he is. A Gentleman (Doctor in Quarto) asks Cordelia’s permission to wake Lear. Cordelia kisses Lear and laments her sisters’ treatment of him. When he wakes, she addresses him with respect fitting for a “royal lord.” Lear is disorientated and humbled, in contrast to his earlier pride, and calls himself a “foolish fond old man.” He recognizes Cordelia and assumes that she hates him, acknowledging that she has “some cause.” She refutes this and leads him away. Kent reveals that Edmund is leading Cornwall’s army.

ACT 5 SCENE 1

Lines 1–31: Edmund describes Albany’s “alteration” and “self-reproving.” Regan questions Edmund about Goneril and accuses him of adultery with her. Edmund denies this as Albany and Goneril arrive, bringing news that Lear and Cordelia are reunited. Albany is divided between his role as a leader who must defend his country and his personal reluctance to fight Lear. Goneril and Regan are both reluctant to leave Edmund alone with the other.

Lines 32–66: Disguised, Edgar hands Albany the letter and leaves. Edmund informs Albany that “The enemy’s in view.” Alone, Edmund contemplates the two sisters, coldly observing that “Neither can be enjoyed / If both remain alive.” He resolves to let Goneril kill Albany if he survives the battle and swears that there will be no mercy for Lear and Cordelia.

ACT 5 SCENE 2

Edgar leaves Gloucester in safety and goes to fight for Lear. He returns to report that Lear and Cordelia have been defeated and captured. Gloucester wishes to remain where he is to be captured or to die, but Edgar says that men must “endure” until their appointed time.

ACT 5 SCENE 3

Lines 1–114: Cordelia thinks that they will see her sisters now they are captives, but Lear does not wish to, constructing a fantasy where he and Cordelia will live happily and safely in prison. Edmund orders them to be taken away and gives the captain instructions to kill them. Albany, Goneril, and Regan arrive, and Albany praises Edmund’s “valiant strain,” asking for the captives. Edmund says that he has sent Lear away so that he will not “pluck the common bosom on his side.” Albany reproves Edmund for taking authority, but Regan claims that he has proved himself Albany’s “brother” by leading her armies. Goneril and Regan begin to fight over Edmund and Regan claims him as her “lord and master.” Albany arrests Edmund for treason and ironically bars Regan’s claim on Edmund as he is “subcontracted” to Goneril. As Albany challenges Edmund, Regan is taken ill, poisoned by Goneril. The trumpet sounds to summon a champion for Albany who will maintain that Edmund, supposed Earl of Gloucester, is “a manifold traitor.”

Lines 115–264: Edgar answers the summons but does not identify himself, except that he is “as noble” as Edmund. They fight and Edmund is mortally wounded, but Goneril argues that he is not defeated because he was not bound to fight “An unknown opposite.” Albany demonstrates the shift in power between them as he tells her to “Shut [her] mouth” and produces her letter to Edmund. Goneril flees. Edmund admits the charges and wishes to know his killer, as he will forgive him if he is noble. Edgar reveals his identity and says that they should “exchange charity.” He argues that “The gods are just,” perhaps a response to Gloucester’s lament in Act 4 Scene 1. Edgar relates how Gloucester died on being told of the true identity of the man who has led him in his blindness: his heart was too weak to support the extremes of “joy and grief” provoked by the knowledge. A messenger brings news that Goneril has poisoned Regan and stabbed herself. Their bodies are brought onstage as Kent arrives, seeking Lear. Edmund resolves to do “some good” before dying and reveals that Lear and Cordelia are condemned to death, and that Cordelia’s hanging will be made to look like suicide. He sends his sword as a “token of reprieve” and is carried out.

Lines 265–348: Howling, Lear carries in Cordelia’s body. He tries to revive her, ignoring Kent’s attempts to speak to him, and reveals that he killed the executioner, remembering “the day” that he “would have made [them] skip,” a brief return to his previous, regal self before he disintegrates once more. He dies believing that he sees Cordelia breathe, and Kent begs his own heart to break. Edmund’s death is reported and Albany asks Kent and Edgar to rule and sustain “the gored state,” but Kent refuses, feeling death is near. Despite Albany’s assertion that “All friends shall taste / The wages of their virtue, and all foes / The cup of their deservings,” any sense of justice, human or divine, seems scant, and the play’s resolution is bleak.