King Lear, Shakespeare Tragedy

A true tragedy has a very serious tone by which many sorrowful events lead to some kind of death. In literature, tragedy can often seem very dry due to the reader most likely knowing the ending. But often, the author uses different content and styles of writing to further develop the story beyond what is actually being read. Some examples of these methods are the use parallel plots, themes, and imagery. A parallel plot can be used to help support the main plot of the story, and themes or imagery are often used to help the reader picture what a certain character might be experiencing. In William Shakespeare’s King Lear, the reader is better able to understand the content of the story through the author’s thorough use of imagery, themes, as well as its parallel plot. These techniques allow each individual reader to interpret the story in their own way. The use of a parallel plot allows the author to enhance the meaning or idea that is trying to be reached in the story. Sharing common themes between the two plots can aid in this idea. The plot with King Lear having the same themes as the plot with the Earl of Gloucester truly develops the story as a whole. Shakespeare probably realized having the two plots share themes would enforce the points he was trying to reach. An example of a common theme shared is the conflicting relationship between father and child. Lear starts the entire dilemma of hate and destruction by his desire for flattery. It can be assumed from the play 's title, Lear and his daughters are part of the main plot, whereas the plot of Gloucester and his sons is considered parallel. Gloucester 's plot acts as an echo since it repeats some of the events and thoughts which took place earlier, only it uses different characters and settings. Shakespeare probably planned this so he could introduce an idea then support it later through each plot point. Literary critic, Harold Bloom would agree, “The Gloucester subplot may be said to work deliberately against Lear’s Jobean sense of his own uniqueness as a sufferer;”(2). The use of Gloucester 's plot in the play gives the reader an opportunity to experience the problem and its answers not just once, but twice. The reader can catch up on any previously overlooked points even though different characters and situations are presented. From the beginning, Shakespeare allows the reader to explore an idea of King Lear without any prior background to his character. In the first scene when Lear has each daughter express their love, Goneril first introduces Lear 's state of symbolic blindness. “Sir, I love you more than word can wield the matter; dearer than eyesight, space and liberty...”(KL 1.1.57-64). At this point, the reader can see Goneril 's true personality, and King Lear 's lack of perception. It 's not until all three daughters ' speeches are given that the reader can truly understand to King Lear 's blindness. It is Goneril and Regan 's speeches that blind King Lear from understanding and accepting Cordelia 's true expression of love. “Noting will come of nothing. Speak again”(KL 1.1.92). It is King Lear 's distorted mindset that leaves him in the dark from what is the truth. Cordelia 's speech challenges King Lear 's intelligence and portrays him as being less powerful. It is after this initial blindness that drives King Lear to begin to make many mistakes. Literary critic G. Wilson Knight agrees, “Lear starts his own tragedy by a foolish misjudgment”(13). He not only loses his daughter, but he also loses his most loyal friend, Kent. “Come not between the Dragon and his wrath. I loved her most, and though to set my rest on her kind nursery. Hence and avoid my sight”(KL 1.1.124-126) This show that King Lear can admit to his own wish for peace and rest but, he cannot acknowledge the fact that both Cordelia and he are being stubborn to not allow love except on their own terms. It is strange how Shakespeare made the reader aware of Cordelia 's knowledge of King Lear 's blindness but she doesn’t make it known to him. It seems Cordelia does a poor job to sell the fact she truly loves her father. Even when Cordelia does speak again, she does not go any further than saying that it is her duty to love Lear. “You have begot me, bred me, loved me. I return those duties back as are right fit, obey you, love you, and most honor you”(KL 1.1.98-100). Though she tells that she only loves her father because she has to, it can be clearly read through that she is more true to him than her sisters. The theme of lack of sight is mimicked in the paralleling plot with the Earl of Gloucester. Gloucester like Lear is challenged by Edgar 's mistrust. “O villain, villain! His very opinion in the letter”(KL 1.2.80). In the blind panic of hurt and fear, Gloucester is easily persuaded and doubts his own son’s loyalty, even though he has no evidence. This shows the reader how much Gloucester relies on others to make up his mind for him. Gloucester like Lear is blinded by his son 's betrayal and is not able to see the truth until Regan and Cornwall physically blind him. The Earl of Gloucester and King Lear are both similar in weakness in that both can’t see past their own ill-sense of truth. Throughout King Lear is there is another dominant theme of deceit and betrayal. Since this is a tragedy, this theme is shown in the few lines. It seems as if Shakespeare often used these themes in his tragedies to set the mood. The reader is first introduced to this theme through Goneril and Regan and their hatred for their father. This becomes the center of the play and also leads to the madness that Lear suffers from. G. Wilson Knight states, “His purgatory is to be a purgatory of the mind, of madness”(13). Knight’s statement proves that Lear is ultimately in his own world of insanity. The first words that Goneril speaks are empty and are opposite of what she really feels. “…A love that makes breathe poor, and speech unable”(KL 1.1.62-3). The reason why there are no words to express her love for her father is that she has no love for him. The same goes for her sister, Regan, who is plotting against her father as well. She says that she feels the same way as her sister but tells that she loves Lear more than her sisters and that Goneril 's affection for her father, “…Only she comes too short”(KL 1.1.74). By saying this, Regan shows that her love is even less true than that of her sister’s. She goes even farther to say, “...that I profess myself an enemy to all other joys which the most precious square of sense possesses and find I am alone felicitate In your dear Highness’ love”(KL 1.1.74-9). This proves Regan to be even greedier than her sister and that her words are more false. In the parallel plot, another deceitful person is Edmund. In the beginning of Act 2 he draws his sword on Edgar and tells him to pretend like he is protecting himself because he hears Gloucester coming. Edmund states, “I hear my father coming. Pardon me: In cunning I must draw my sword upon you. Draw, seem to defend yourself; now quit you well. Yield! Come before my father! Light ho, here! Fly, brother. Torches, torches! -So, farewell”(KL 2.1.30-4). Edmund tells Gloucester that he was attacked by Edgar and that he even drew blood from Edmund. The motive behind this is greed and envy. Edmund has no love for hid father and is envious of the fact that he will not inherit any title from Gloucester. Edmund goes on to say, “With his prepared sword he charges home my unprovided body, latched mine arm; But when he saw my best alarumed spirits bold in the quarrel 's right, roused to th ' encounter, or whether gasted by the noise I made, Full suddenly he fled”(KL 2.1.54-9). He greedily deceives Gloucester and gets him to sympathize by incriminating Edgar. This shows how Edmund is just as evil as Goneril and Regan. Shakespeare seems as if he wanted to really illustrate the similarities between Edmund, Regan, and Goneril buy showing how they play the victim but are truly aren’t. Michael J. Warren describes, “As Edmund, dedication to an ideal…a dangerous self-righteousness that must exercise itself on others”(52). Warren tells of how Edmund’s self involved nature is dangerous to others, proving true with the gain of his fathers thrown. Throughout both plots of King Lear, the children’s’ plan to overthrow their father proves a motive greed, deceit, lack of feeling, and betrayal. The central theme throughout King Lear would probably be the suffering or some kind of unhappiness of the characters. Shakespeare always seems to have his characters suffer in some kind of unhappiness in all of his tragedies and that suffering leads to death. When King Lear is thrown out of his daughters ' homes and left with a fool, he realizes his mistake and suffers the banishment of his two eldest daughters. Lear also suffers from lack of rest when he is moving all over the place and the thing that breaks him is the death of his youngest daughter, Cordelia. Lear states, “And my poor fool is hanged: no, no, no life? Why should a dog, a horse, a rat, have life, and thou no breath at all? Thou 'lt come no more, never, never, never, never, never"(KL 5.3.306-10). The pain and suffering endured by Lear eventually tears down his strength and sanity. Lear is not as strong, arrogant, and prideful as he was in the beginning of the play instead he is weak, scared, and unhappy old man. Another feeling of unhappiness/suffering is when King Lear is shouting during the storm, “I tax not you, you elements, with unkindness. I never gave you kingdom, called you children, you owe me no subscription”(KL 3.2.16-8). He was suffering because he felt that he didn 't deserve what he had received from his two daughters. The fall of Lear is not just the suffering of one man but the suffering of everyone around him. Critics from Readings on the Tragedies of William Shakespeare tell, “Lear, however, has seen too much in life to remain in this world, and his death is as appropriate as it is inevitable”(196). Due to his fall as king, King Lear ultimately has no more reason to live anyhow because he has nothing to live for. In conclusion, King Lear accomplishes the task of being a tragedy because it is a clear series of events that lead to death. Shakespeare does a great job of emphasizing the need for a parallel plot to better grasp the many meanings of King Lear. Using the many themes and ideas to better enhance this story truly make this a great tragedy. By thoroughly illustrating these ideas, Shakespeare causes the reader to read more into what is behind the text to gain a better understanding of the play as a whole. Works Cited

Barnet, Sylvan, Morton Berman, and William Burto. “The Plot of Tragedy Best Suits King Lear.” Readings on the Tragedies of William Shakespeare. Ed. Clarice Swisher. San Diego: Greenhaven, 1996. 194-97.
Bloom, Harold. Introduction. William Shakespeare’s King Lear. Modern Critical Interpretations. Ed. Harold Bloom. New York: Chelsea, 1987. 1-8
Knight, G. Wilson. “King Lear and the Comedy of the Grotesque.” William Shakespeare: The Tragedies. Modern Critical Views. Ed. Harold Bloom. New York: Chelsea, 1985. 11-26
Shakespeare, William. King Lear. Ed. Russell Fraser. New York: Signet, 1998
Warren, Michael J. “Quarto and Folio King Lear and the Interpretation of Edgar and Albany.” William Shakespeare’s King Lear. Modern Critical Interpretations. Ed. Harold Bloom. New York: Chelsea, 1987. 45-56.

Cited: Barnet, Sylvan, Morton Berman, and William Burto. “The Plot of Tragedy Best Suits King Lear.” Readings on the Tragedies of William Shakespeare. Ed. Clarice Swisher. San Diego: Greenhaven, 1996. 194-97. Bloom, Harold. Introduction. William Shakespeare’s King Lear. Modern Critical Interpretations. Ed. Harold Bloom. New York: Chelsea, 1987. 1-8 Knight, G. Wilson. “King Lear and the Comedy of the Grotesque.” William Shakespeare: The Tragedies. Modern Critical Views. Ed. Harold Bloom. New York: Chelsea, 1985. 11-26 Shakespeare, William. King Lear. Ed. Russell Fraser. New York: Signet, 1998 Warren, Michael J. “Quarto and Folio King Lear and the Interpretation of Edgar and Albany.” William Shakespeare’s King Lear. Modern Critical Interpretations. Ed. Harold Bloom. New York: Chelsea, 1987. 45-56.