Meet Stan, Patch the dog, and Little Red Tractor and read about their busy lives on Gosling Farm.

Stan and Little Red Tractor are taking sacks of wheat to Stumpy's Mill for grinding into flour. Then Stan spies a kitten stuck on one of the windmill's sails. He rescues her, but only after his world has turned upside down!

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Peter Geoffrey Tye: A Hampshire boy, who grew up in the rural community of Hartley Wespall, joined the Royal Navy at the age of fifteen and completed eight years service. Peter then embarked on a marketing career which led to copy writing and in 1977, the setting up of his own business from number 87 Fleet Street. From his 4th floor office he looked at the Daily Express building at the front, over St. Bride’s churchyard at the rear, and provided a business writing service to blue chip companies in the City of London.

Peter’s involvement with children’s entertainment began in 1993, when he produced Colin Reeder’s Little Red Tractor Stories for video and following Colin’s untimely death, wrote new Little Red Tractor stories for TV and book publication.

Peter Tye lives in Norfolk where he is an enthusiastic, if very average golfer, and enjoys sailing his Yeoman dingy on The Broads.

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Over the past few years, Brianna Wiest has gained renown for her deeply moving, philosophical writing. This new compilation of her published work features pieces on why you should pursue purpose over passion, embrace negative thinking, see the wisdom in daily routine, and become aware of the cognitive biases that are creating the way you see your life.

Some of these pieces have never been seen; others have been read by millions of people around the world. Regardless, each will leave you thinking: This idea changed my life.

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Some of these pieces have never been seen; others have been read by millions of people around the world. Regardless, each will leave you thinking: This idea changed my life.

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This is a professionally-formatted, free flowing ebook reproduction of unique, up-to-date guides produced by the Department of Defense that provide comprehensive information about all aspects of life in South Korea, with a special emphasis on geography, history, the economy, society, security and military matters, religion, traditions, urban and rural life, ethnic groups, crime, the environment, government, holidays, gender issues and much more.

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Surviving documents that give us glimpses into the life of William Shakespeare show us a playwright, poet, and actor who grew up in the market town of Stratford-upon-Avon, spent his professional life in London, and returned to Stratford a wealthy landowner. He was born in April 1564, died in April 1616, and is buried inside the chancel of Holy Trinity Church in Stratford.

We wish we could know more about the life of the world's greatest dramatist. His plays and poems are testaments to his wide reading -- especially to his knowledge of Virgil, Ovid, Plutarch, Holinshed's Chronicles, and the Bible -- and to his mastery of the English language, but we can only speculate about his education. We know that the King's New School in Stratford-upon-Avon was considered excellent. The school was one of the English \\\"grammar schools\\\" established to educate young men, primarily in Latin grammar and literature. As in other schools of the time, students began their studies at the age of four or five in the attached \\\"petty school,\\\" and there learned to read and write in English, studying primarily the catechism from the Book of Common Prayer. After two years in the petty school, students entered the lower form (grade) of the grammar school, where they began the serious study of Latin grammar and Latin texts that would occupy most of the remainder of their school days. (Several Latin texts that Shakespeare used repeatedly in writing his plays and poems were texts that schoolboys memorized and recited.) Latin comedies were introduced early in the lower form; in the upper form, which the boys entered at age ten or eleven, students wrote their own Latinorations and declamations, studied Latin historians and rhetoricians, and began the study of Greek using the Greek New Testament.

Since the records of the Stratford \\\"grammar school\\\" do not survive, we cannot prove that William Shakespeare attended the school; however, every indication (his father's position as an alderman and bailiff of Stratford, the playwright's own knowledge of the Latin classics, scenes in the plays that recall grammar-school experiences -- for example, The Merry Wives of Windsor, 4.1) suggests that he did. We also lack generally accepted documentation about Shakespeare's life after his schooling ended and his professional life in London began. His marriage in 1582 (at age eighteen) to Anne Hathaway and the subsequent births of his daughter Susanna (1583) and the twins Judith and Hamnet (1585) are recorded, but how he supported himself and where he lived are not known. Nor do we know when and why he left Stratford for the London theatrical world, nor how he rose to be the important figure in that world that he had become by the early 1590s.

We do know that by 1592 he had achieved some prominence in London as both an actor and a playwright. In that year was published a book by the playwright Robert Greene attacking an actor who had the audacity to write blank-verse drama and who was \\\"in his own conceit [i.e., opinion] the only Shake-scene in a country.\\\" Since Greene's attack includes a parody of a line from one of Shakespeare's early plays, there is little doubt that it is Shakespeare to whom he refers, a \\\"Shake-scene\\\" who had aroused Greene's fury by successfully competing with university-educated dramatists like Greene himself. It was in 1593 that Shakespeare became a published poet. In that year he published his long narrative poem Venus and Adonis; in 1594, he followed it with The Rape of Lucrece. Both poems were dedicated to the young earl of Southampton (Henry Wriothesley), who may have become Shakespeare's patron.

It seems no coincidence that Shakespeare wrote these narrative poems at a time when the theaters were closed because of the plague, a contagious epidemic disease that devastated the population of London. When the theaters reopened in 1594, Shakespeare apparently resumed his double career of actor and playwright and began his long (and seemingly profitable) service as an acting-company shareholder. Records for December of 1594 show him to be a leading member of the Lord Chamberlain's Men. It was this company of actors, later named the King's Men, for whom he would be a principal actor, dramatist, and shareholder for the rest of his career.

So far as we can tell, that career spanned about twenty years. In the 1590s, he wrote his plays on English history as well as several comedies and at least two tragedies (Titus Andronicus and Romeo and Juliet). These histories, comedies, and tragedies are the plays credited to him in 1598 in a work, Palladis Tamia, that in one chapter compares English writers with \\\"Greek, Latin, and Italian Poets.\\\" There the author, Francis Meres, claims that Shakespeare is comparable to the Latin dramatists Seneca for tragedy and Plautus for comedy, and calls him \\\"the most excellent in both kinds for the stage.\\\" He also names him \\\"Mellifluous and honey-tongued Shakespeare\\\": \\\"I say,\\\" writes Meres, \\\"that the Muses would speak with Shakespeare's fine filed phrase, if they would speak English.\\\" Since Meres also mentions Shakespeare's \\\"sugared sonnets among his private friends,\\\" it is assumed that many of Shakespeare's sonnets (not published until 1609) were also written in the 1590s.

In 1599, Shakespeare's company built a theater for themselves across the river from London, naming it the Globe. The plays that are considered by many to be Shakespeare's major tragedies (Hamlet, Othello, King Lear, and Macbeth) were written while the company was resident in this theater, as were such comedies as Twelfth Night and Measure for Measure. Many of Shakespeare's plays were performed at court (both for Queen Elizabeth I and, after her death in 1603, for King James I), some were presented at the Inns of Court (the residences of London's legal societies), and some were doubtless performed in other towns, at the universities, and at great houses when the King's Men went on tour; otherwise, his plays from 1599 to 1608 were, so far as we know, performed only at the Globe. Between 1608 and 1612, Shakespeare wrote several plays -- among them The Winter's Tale and The Tempest -- presumably for the company's new indoor Blackfriars theater, though the plays seem to have been performed also at the Globe and at court. Surviving documents describe a performance of The Winter's Tale in 1611 at the Globe, for example, and performances of The Tempest in 1611 and 1613 at the royal palace of Whitehall.

Shakespeare wrote very little after 1612, the year in which he probably wrote King Henry VIII. (It was at a performance of Henry VIII in 1613 that the Globe caught fire and burned to the ground.) Sometime between 1610 and 1613 he seems to have returned to live in Stratford-upon-Avon, where he owned a large house and considerable property, and where his wife and his two daughters and their husbands lived. (His son Hamnet had died in 1596.) During his professional years in London, Shakespeare had presumably derived income from the acting company's profits as well as from his own career as an actor, from the sale of his play manuscripts to the acting company, and, after 1599, from his shares as an owner of the Globe. It was presumably that income, carefully invested in land and other property, which made him the wealthy man that surviving documents show him to have become. It is also assumed that William Shakespeare's growing wealth and reputation played some part in inclining the crown, in 1596, to grant John Shakespeare, William's father, the coat of arms that he had so long sought. William Shakespeare died in Stratford on April 23, 1616 (according to the epitaph carved under his bust in Holy Trinity Church) and was buried on April 25. Seven years after his death, his collected plays were published as Mr. William Shakespeares Comedies, Histories, & Tragedies (the work now known as the First Folio).

The years in which Shakespeare wrote were among the most exciting in English history. Intellectually, the discovery, translation, and printing of Greek and Roman classics were making available a set of works and worldviews that interacted complexly with Christian texts and beliefs. The result was a questioning, a vital intellectual ferment, that provided energy for the period's amazing dramatic and literary output and that fed directly into Shakespeare's plays. The Ghost in Hamlet, for example, is wonderfully complicated in part because he is a figure from Roman tragedy -- the spirit of the dead returning to seek revenge -- who at the same time inhabits a Christian hell (or purgatory); Hamlet's description of humankind reflects at one moment the Neoplatonic wonderment at mankind (\\\"What a piece of work is a man!\\\") and, at the next, the Christian disparagement of human sinners (\\\"And yet, to me, what is this quintessence of dust?\\\").

As intellectual horizons expanded, so also did geographical and cosmological horizons. New worlds -- both North and South America -- were explored, and in them were found human beings who lived and worshiped in ways radically different from those of Renaissance Europeans and Englishmen. The universe during these years also seemed to shift and expand. Copernicus had earlier theorized that the earth was not the center of the cosmos but revolved as a planet around the sun. Galileo's telescope, created in 1609, allowed scientists to see that Copernicus had been correct; the universe was not organized with the earth at the center, nor was it so nicely circumscribed as people had, until that time, thought. In terms of expanding horizons, the impact of these discoveries on people's beliefs -- religious, scientific, and philosophical -- cannot be overstated.

London, too, rapidly expanded and changed during the years (from the early 1590s to around 1610) that Shakespeare lived there. London -- the center of England's government, its economy, its royal court, its overseas trade -- was, during these years, becoming an exciting metropolis, drawing to it thousands of new citizens every year. Troubled by overcrowding, by poverty, by recurring epidemics of the plague, London was also a mecca for the wealthy and the aristocratic, and for those who sought advancement at court, or power in government or finance or trade. One hears in Shakespeare's plays the voices of London -- the struggles for power, the fear of venereal disease, the language of buying and selling. One hears as well the voices of Stratford-upon-Avon -- references to the nearby Forest of Arden, to sheepherding, to small-town gossip, to village fairs and markets. Part of the richness of Shakespeare's work is the influence felt there of the various worlds in which he lived: the world of metropolitan London, the world of small-town and rural England, the world of the theater, and the worlds of craftsmen and shepherds.

That Shakespeare inhabited such worlds we know from surviving London and Stratford documents, as well as from the evidence of the plays and poems themselves. From such records we can sketch the dramatist's life. We know from his works that he was a voracious reader. We know from legal and business documents that he was a multifaceted theater man who became a wealthy landowner. We know a bit about his family life and a fair amount about his legal and financial dealings. Most scholars today depend upon such evidence as they draw their picture of the world's greatest playwright. Such, however, has not always been the case. Until the late eighteenth century, the William Shakespeare who lived in most biographies was the creation of legend and tradition. This was the Shakespeare who was supposedly caught poaching deer at Charlecote, the estate of Sir Thomas Lucy close by Stratford; this was the Shakespeare who fled from Sir Thomas's vengeance and made his way in London by taking care of horses outside a playhouse; this was the Shakespeare who reportedly could barely read but whose natural gifts were extraordinary, whose father was a butcher who allowed his gifted son sometimes to help in the butcher shop, where William supposedly killed calves \\\"in a high style,\\\" making a speech for the occasion. It was this legendary William Shakespeare whose Falstaff (in 1 and 2 Henry IV) so pleased Queen Elizabeth that she demanded a play about Falstaff in love, and demanded that it be written in fourteen days (hence the existence of The Merry Wives of Windsor). It was this legendary Shakespeare who reached the top of his acting career in the roles of the Ghost in Hamlet and old Adam in As You Like It -- and who died of a fever contracted by drinking too hard at \\\"a merry meeting\\\" with the poets Michael Drayton and Ben Jonson. This legendary Shakespeare is a rambunctious, undisciplined man, as attractively \\\"wild\\\" as his plays were seen by earlier generations to be. Unfortunately, there is no trace of evidence to support these wonderful stories.

Perhaps in response to the disreputable Shakespeare of legend -- or perhaps in response to the fragmentary and, for some, all-too-ordinary Shakespeare documented by surviving records -- some people since the mid-nineteenth century have argued that William Shakespeare could not have written the plays that bear his name. These persons have put forward some dozen names as more likely authors, among them Queen Elizabeth, Sir Francis Bacon, Edward de Vere (earl of Oxford), and Christopher Marlowe. Such attempts to find what for these people is a more believable author of the plays is a tribute to the regard in which the plays are held. Unfortunately for their claims, the documents that exist that provide evidence for the facts of Shakespeare's life tie him inextricably to the body of plays and poems that bear his name. Unlikely as it seems to those who want the works to have been written by an aristocrat, a university graduate, or an \\\"important\\\" person, the plays and poems seem clearly to have been produced by a man from Stratford-upon-Avon with a very good \\\"grammar-school\\\" education and a life of experience in London and in the world of the London theater. How this particular man produced the works that dominate the cultures of much of the world almost four hundred years after his death is one of life's mysteries -- and one that will continue to tease our imaginations as we continue to delight in his plays and poems.

Copyright © 2003 by The Folger Shakespeare Library

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William Shakespeare was born in Stratford-upon-Avon in April 1564, and his birth is traditionally celebrated on April 23. The facts of his life, known from surviving documents, are sparse. He was one of eight children born to John Shakespeare, a merchant of some standing in his community. William probably went to the King’s New School in Stratford, but he had no university education. In November 1582, at the age of eighteen, he married Anne Hathaway, eight years his senior, who was pregnant with their first child, Susanna. She was born on May 26, 1583. Twins, a boy, Hamnet ( who would die at age eleven), and a girl, Judith, were born in 1585. By 1592 Shakespeare had gone to London working as an actor and already known as a playwright. A rival dramatist, Robert Greene, referred to him as “an upstart crow, beautified with our feathers.” Shakespeare became a principal shareholder and playwright of the successful acting troupe, the Lord Chamberlain’s Men (later under James I, called the King’s Men). In 1599 the Lord Chamberlain’s Men built and occupied the Globe Theater in Southwark near the Thames River. Here many of Shakespeare’s plays were performed by the most famous actors of his time, including Richard Burbage, Will Kempe, and Robert Armin. In addition to his 37 plays, Shakespeare had a hand in others, including Sir Thomas More and The Two Noble Kinsmen, and he wrote poems, including Venus and Adonis and The Rape of Lucrece. His 154 sonnets were published, probably without his authorization, in 1609. In 1611 or 1612 he gave up his lodgings in London and devoted more and more time to retirement inStratford, though he continued writing such plays as The Tempest and Henry VII until about 1613. He died on April 23 1616, and was buried in Holy Trinity Church, Stratford. No collected edition of his plays was published during his life-time, but in 1623 two members of his acting company, John Heminges and Henry Condell, put together the great collection now called the First Folio.

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Chapter One

Act 1 Scene 1 running scene 1

Enter Kent, Gloucester and Edmund

KENT I thought the king had more affected the Duke of Albany than Cornwall.

GLOUCESTER 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 qualities are so weighed that curiosity in neither can make choice of either's moiety.

KENT Is not this your son, my lord?

GLOUCESTER 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.

GLOUCESTER Sir, this young fellow's mother could; whereupon she grew round-wombed and had indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault?

KENT I cannot wish the fault undone, the issue of it being so proper.

GLOUCESTER 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 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.- Do you know this noble gentleman, Edmund?

EDMUND No, my lord.

GLOUCESTER My lord of Kent: remember him hereafter as my honourable friend.

EDMUND My services to your lordship.

KENT I must love you, and sue to know you better.

EDMUND Sir, I shall study deserving.

GLOUCESTER He hath been out nine years, and away he shall again. The king is coming.

Sennet. Enter [one bearing a coronet, then] King Lear, Cornwall, Albany, Goneril, Regan, Cordelia and Attendants

LEAR Attend the lords of France and Burgundy, Gloucester.

GLOUCESTER I shall, my lord. Exit

LEAR Meantime we shall express our darker purpose.

Give me the map there. Kent or an Attendant gives Lear a map

Know that we have divided

In three our kingdom, and 'tis our fast intent

To shake all cares and business from our age,

Conferring them on younger strengths while we

Unburdened crawl toward death. Our son of

Cornwall,

And you our no less loving son of Albany,

We have this hour a constant will to publish

Our daughters' several dowers, that future strife

May be prevented now. The princes, France and

Burgundy,

Great rivals in our youngest daughter's love,

Long in our court have made their amorous sojourn

And here are to be answered. Tell me, my

daughters -

Since now we will divest us both of rule,

Interest of territory, cares of state -

Which of you shall we say doth love us most,

That we our largest bounty may extend

Where nature doth with merit challenge? Goneril,

Our eldest born, speak first.

GONERIL Sir, I love you more than word can wield the matter,

Dearer than eyesight, space and liberty,

Beyond what can be valued rich or rare,

No less than life, with grace, health, beauty, honour:

As much as child e'er loved or father found:

A love that makes breath poor and speech unable:

Beyond all manner of so much I love you.

CORDELIA What shall Cordelia speak? Love and be silent. Aside

LEAR Of all these bounds, even from this line to this, Points With shadowy forests and with champaigns riched, to the map

With plenteous rivers and wide-skirted meads,

We make thee lady. To thine and Albany's issues

Be this perpetual.- What says our second daughter?

Our dearest Regan, wife of Cornwall?

REGAN I am made of that self-mettle as my sister,

And prize me at her worth. In my true heart,

I find she names my very deed of love:

Only she comes too short, that I profess

Myself an enemy to all other joys

Which the most precious square of sense professes,

And find I am alone felicitate

In your dear highness' love.

CORDELIA Then poor Cordelia: Aside

And yet not so, since I am sure my love's

More ponderous 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 conferred on Goneril.- Now, our joy, To Cordelia

Although our last and least, to whose young love

The vines of France and milk of Burgundy

Strive to be interessed, what can you say to draw

A third more opulent than your sisters'? Speak.

CORDELIA Nothing, my lord.

LEAR Nothing?

CORDELIA Nothing.

LEAR Nothing will come of nothing: speak again.

CORDELIA Unhappy that I am, I cannot heave

My heart into my mouth: I love your majesty

According to my bond, no more nor less.

LEAR How, how, Cordelia? Mend your speech a little,

Lest you may mar your fortunes.

CORDELIA Good my lord,

You have begot me, bred me, loved me:

I return those duties back as are right fit,

Obey you, love you and most honour you.

Why have my sisters husbands if they say

They love you all? Happily when I shall wed,

That lord whose hand must take my plight shall

carry

Half my love with him, half my care and duty:

Sure I shall never marry like my sisters.

LEAR But goes thy heart with this?

CORDELIA Ay, my good lord.

LEAR So young and so untender?

CORDELIA So young, my lord, and true.

LEAR Let it be so: thy truth then be thy dower,

For by the sacred radiance of the sun,

The mysteries of Hecate and the night,

By all the operation of the orbs

From whom we do exist and cease to be,

Here I disclaim all my paternal care,

Propinquity and property of blood,

And as a stranger to my heart and me

Hold thee from this for ever. The barbarous Scythian,

Or he that makes his generation messes

To gorge his appetite, shall to my bosom

Be as well neighboured, pitied and relieved

As thou my sometime daughter.

KENT Good my liege-

LEAR Peace, Kent:

Come not between the dragon and his wrath.

I loved her most, and thought to set my rest

On her kind nursery.- Hence, and avoid my sight!- To

So be my grave my peace, as here I give Cordelia

Her father's heart from her. Call France. Who stirs?

Call Burgundy.- Cornwall and Albany,

[Exit Attendant]

With my two daughters' dowers digest the third.

Let pride, which she calls plainness, marry her.

I do invest you jointly with my power,

Pre-eminence, and all the large effects

That troop with majesty. Ourself by monthly course,

With reservation of an hundred knights

By you to be sustained, shall our abode

Make with you by due turn: only we shall retain

The name and all th'addition to a king: the sway,

Revenue, execution of the rest,

Belovèd sons, be yours, which to confirm,

This coronet part between you. Gives them coronet to break in half

KENT Royal Lear,

Whom I have ever honoured as my king,

Loved as my father, as my master followed,

As my great patron thought on in my prayers-

LEAR The bow is bent and drawn, make from the shaft.

KENT Let it fall rather, though the fork invade

The region of my heart: be Kent unmannerly

When Lear is mad. What wouldst thou do, old man?

Think'st thou that duty shall have dread to speak

When power to flattery bows? To plainness honour's

bound

When majesty falls to folly. Reserve thy state,

And in thy best consideration check

This hideous rashness. Answer my life my

judgement:

Thy youngest daughter does not love thee least,

Nor are those empty-hearted whose low sounds

Reverb no hollowness.

LEAR Kent, on thy life, no more.

KENT My life I never held but as pawn

To wage against thine enemies, ne'er fear to lose it,

Thy safety being motive.

LEAR Out of my sight!

KENT See better, Lear, and let me still remain

The true blank of thine eye.

LEAR Now, by Apollo-

KENT Now, by Apollo, king,

Thou swear'st thy gods in vain.

LEAR O, vassal! Miscreant! Puts his hand on his sword or attacks Kent

ALBANY and CORDELIA Dear sir, forbear.

KENT Kill thy physician, and thy fee bestow

Upon the foul disease. Revoke thy gift,

Or whilst I can vent clamour from my throat,

I'll tell thee thou dost evil.

LEAR Hear me, recreant, on thine allegiance hear me!

That thou hast sought to make us break our vows,

Which we durst never yet, and with strained pride

To come betwixt our sentences and our power,

Which nor our nature nor our place can bear,

Our potency made good, take thy reward:

Five days we do allot thee for provision

To shield thee from disasters of the world,

And on the sixth to turn thy hated back

Upon our kingdom: if on the next day following

Thy banished trunk be found in our dominions,

The moment is thy death. Away! By Jupiter,

This shall not be revoked.

KENT Fare thee well, king: sith thus thou wilt appear,

Freedom lives hence and banishment is here.-

The gods to their dear shelter take thee, maid, To Cordelia

That justly think'st, and hast most rightly said.-

And your large speeches may your deeds approve, To Goneril

That good effects may spring from words of love. and Regan

Thus Kent, O princes, bids you all adieu.

He'll shape his old course in a country new. Exit

Flourish. Enter Gloucester with France and Burgundy, Attendants

CORDELIA Here's France and Burgundy, my noble lord.

LEAR My lord of Burgundy,

We first address toward you, who with this king

Hath rivalled for our daughter: what in the least

Will you require in present dower with her,

Or cease your quest of love?

BURGUNDY Most royal majesty,

I crave no more than hath your highness offered,

Nor will you tender less.

LEAR Right noble Burgundy,

When she was dear to us, we did hold her so,

But now her price is fallen. Sir, there she stands:

If aught within that little seeming substance,

Or all of it, with our displeasure pieced,

And nothing more, may fitly like your grace,

She's there, and she is yours.

BURGUNDY I know no answer.

LEAR Will you, with those infirmities she owes,

Unfriended, new-adopted to our hate,

Dowered with our curse and strangered with our

oath,

Take her or leave her?

BURGUNDY Pardon me, royal sir:

Election makes not up in such conditions.

LEAR Then leave her, sir, for by the power that made me,

I tell you all her wealth.- For you, great king, To France

I would not from your love make such a stray

To match you where I hate, therefore beseech you

T'avert your liking a more worthier way

Than on a wretch whom nature is ashamed

Almost t'acknowledge hers.

FRANCE This is most strange,

That she whom even but now was your object,

The argument of your praise, balm of your age,

The best, the dearest, should in this trice of time

Commit a thing so monstrous to dismantle

So many folds of favour. Sure her offence

Must be of such unnatural degree

That monsters it, or your fore-vouched affection

Fall into taint, which to believe of her

Must be a faith that reason without miracle

Should never plant in me.

CORDELIA I yet beseech your majesty -

If for I want that glib and oily art

To speak and purpose not, since what I will intend

I'll do't before I speak - that you make known

It is no vicious blot, murder, or foulness,

No unchaste action or dishonoured step

That hath deprived me of your grace and favour,

But even for want of that for which I am richer:

A still-soliciting eye and such a tongue

That I am glad I have not, though not to have it

Hath lost me in your liking.

LEAR Better thou hadst

Not been born than not t'have pleased me better.

FRANCE Is it but this? A tardiness in nature,

Which often leaves the history unspoke

That it intends to do? My lord of Burgundy,

What say you to the lady? Love's not love

When it is mingled with regards that stands

Aloof from th'entire point. Will you have her?

She is herself a dowry.

BURGUNDY Royal king, To Lear

Give but that portion which yourself proposed,

And here I take Cordelia by the hand,

Duchess of Burgundy.

LEAR Nothing: I have sworn: I am firm.

BURGUNDY I am sorry, then, you have so lost a father To Cordelia

That you must lose a husband.

CORDELIA Peace be with Burgundy.

Since that respect and fortunes are his love,

I shall not be his wife.

FRANCE Fairest Cordelia, that art most rich being poor,

Most choice forsaken, and most loved despised,

Thee and thy virtues here I seize upon:

Be it lawful, I take up what's cast away. Takes her hand

Gods, gods! 'Tis strange that from their cold'st neglect

My love should kindle to inflamed respect.-

Thy dowerless daughter, king, thrown to my chance,

Is queen of us, of ours and our fair France:

Not all the dukes of wat'rish Burgundy

Can buy this unprized precious maid of me.-

Bid them farewell, Cordelia, though unkind.

Thou losest here, a better where to find.

LEAR Thou hast her, France: let her be thine, for we

Have no such daughter, nor shall ever see

That face of hers again. Therefore be gone

Without our grace, our love, our benison.

Come, noble Burgundy.

Flourish. Exeunt. [France and the sisters remain]

FRANCE Bid farewell to your sisters.

CORDELIA The jewels of our father, with washèd eyes

Cordelia leaves you. I know you what you are,

And like a sister am most loath to call

Your faults as they are named. Love well our father:

To your professèd bosoms I commit him,

But yet, alas, stood I within his grace,

I would prefer him to a better place.

So farewell to you both.

REGAN Prescribe not us our duty.

GONERIL Let your study

Be to content your lord who hath received you

At fortune's alms. You have obedience scanted,

And well are worth the want that you have wanted.

CORDELIA Time shall unfold what plighted cunning hides:

Who covers faults, at last with shame derides.

Well may you prosper.

FRANCE Come, my fair Cordelia. Exit France and Cordelia

GONERIL Sister, it is not little I have to say of what most nearly appertains to us both. I think our father will hence tonight.

REGAN That's most certain, and with you: next month with us.

GONERIL You see how full of changes his age is: the observation we have made of it hath not been little. He always loved our sister most, and with what poor judgement he hath now cast her off appears too grossly.

REGAN 'Tis the infirmity of his age: yet he hath ever but slenderly known himself.

GONERIL The best and soundest of his time hath been but rash. Then must we look from his age to receive not alone the imperfections of long-engrafted condition, but therewithal the unruly waywardness that infirm and choleric years bring with them.

REGAN Such unconstant starts are we like to have from him as this of Kent's banishment.

GONERIL There is further compliment of leave-taking between France and him. Pray you let us sit together: if our father carry authority with such disposition as he bears, this last surrender of his will but offend us.

REGAN We shall further think of it.

GONERIL We must do something, and i'th'heat. Exeunt

Act 1 Scene 2 running scene 2

Enter Bastard [Edmund] With a letter\"},{\"id\":\"11699596T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"1\",\"text\":\"

Gr 5-9

Each book opens with a list of characters and a description of the setting. Background information, a short synopsis, famous phrases from the play, and a biographical sketch of Shakespeare are also included. Described as titles for reluctant readers, each slim volume is written in large-sized font and includes full-color illustrations covering between two to five panels per age. All dialogue has been extracted from the original play, which exposes readers to Shakespearean language. Explanatory text boxes judiciously placed throughout the panels enhance readers' understanding of characters, actions, and events. With substantial front and back matter, these adaptations seem best suited for instructional purposes. Additional explanation, discussion, and further reading may be required if young readers are to understand the Shakespearean phrases and interlocking plots as well as the subject matter of these plays: madness, human suffering, suicide, revenge, and murder. However, the books will serve as introductions to the Bard for older, reluctant readers. Dunn's illustrations for Hamlet and King Lear were done in a straightforward style and have rich, dramatic colors. Espinosa's use of a limited color palette for A Midsummer Night's Dream suits the moonlight setting. This adaptation's inclusion of Puck's rhyming introduction to the characters is a delightful addition.-Barbara M. Moon, Suffolk Cooperative Library System, Bellport, NY

\"},{\"id\":\"9206937T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"2\",\"text\":\"From an artist known for his vivid graphic-novel reworkings of Beowulf (2007) and The Merchant of Venice (2008) comes this nuanced adaptation of King Lear. Employing a range of artistic styles that convey dramatic mood, the artist begins the play almost as a fairy tale, featuring bright, softly washed drawings. Once Cordelia is cast out and things sour, the images become darker and more compact. As the king descends into madness, the art becomes downright menacing, with Lear appearing as a jagged, ghostly figure drawn with white pencil on a dark background. These visual cues assist to a degree in deciphering the meaning of the Shakespearean language. Much of the text of the play remains intact, though in the backmatter Hinds dissects page by page what changes were made and why, offering scholarly interpretations that are both insightful and cleanly summative. The story doesn't leap from page, but this is a remarkably rendered and worthwhile treatment of the tragedy. 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A king foolishly divides his kingdom between his scheming two oldest daughters and estranges himself from the daughter who loves him. So begins this profoundly moving and disturbing tragedy that, perhaps more than any other work in literature, challenges the notion of a coherent and just universe. The king and others pay dearly for their shortcomings–as madness, murder, and the anguish of insight and forgiveness that arrive too late combine to make this an all-embracing tragedy of evil and suffering.

Each Edition Includes:
• Comprehensive explanatory notes
• Vivid introductions and the most up-to-date scholarship
• Clear, modernized spelling and punctuation, enabling contemporary readers to understand the Elizabethan English
• Completely updated, detailed bibliographies and performance histories
• An interpretive essay on film adaptations of the play, along with an extensive filmography

","A king foolishly divides his kingdom between his scheming two oldest daughters and estranges himself from the daughter who loves him. So begins this profoundly moving and disturbing tragedy that, perhaps more than any other work in literature, challenges the notion of a coherent and just universe. The king and others pay dearly for their shortcomings–as madness, murder, and the anguish of insight and forgiveness that arrive too late combine to make this an all-embracing tragedy of evil and suffering.Each Edition Includes:• Comprehensive explanatory notes • Vivid introductions and the most up-to-date scholarship • Clear, modernized spelling and punctuation, enabling contemporary readers to understand the Elizabethan English• Completely updated, detailed bibliographies and performance histories • An interpretive essay on film adaptations of the play, along with an extensive filmography",[4586,4587],{"_224":5093,"_235":5095},{"_226":5094,"_228":229},"4.99",{"_226":5094,"_228":229},{"_224":5097,"_235":5098},{"_226":234,"_228":229},{"_226":234,"_228":229},{"_239":5100},[5101],{"_36":5102,"_60":5103,"_221":-5,"_62":5104,"_56":4932},"gid://shopify/ProductImage/49020416786672","https://cdn.shopify.com/s/files/1/0737/7593/9824/files/148042277.jpg?v=1751687462",365,{"_239":5106},[5107],{"_36":5108,"_192":5109},"gid://shopify/MediaImage/40694386426096",{"_36":5110,"_60":5103,"_221":-5,"_62":5104,"_56":4932},"gid://shopify/ImageSource/40723904659696",[5112],{"_252":253,"_4606":5113},[5114],{"_252":255,"_4609":5115,"_4618":-5},{"_230":121,"_243":-5,"_36":5116,"_192":5117,"_245":5118,"_247":5119,"_249":5120,"_256":5088,"_78":255,"_257":-5,"_4617":121},"gid://shopify/ProductVariant/47023624388848",{"_203":4754,"_36":5102,"_60":5103,"_221":-5,"_62":5104,"_56":4932},{"_226":5094,"_228":229},{"_78":5086,"_209":5088},[5121],{"_252":253,"_254":255},{"_230":121,"_243":-5,"_36":5116,"_192":5123,"_245":5124,"_247":5125,"_249":5126,"_256":5088,"_78":255,"_257":-5,"_4617":121},{"_203":4754,"_36":5102,"_60":5103,"_221":-5,"_62":5104,"_56":4932},{"_226":5094,"_228":229},{"_78":5086,"_209":5088},[5127],{"_252":253,"_254":255},[],{"_211":-5,"_78":-5},{"_254":5088},{"_254":4632},{"_254":4634},{"_254":5134},"1988-01-01T05:00:00Z",{"_254":4640},{"_254":5137},"1987-12-28T05:00:00Z",{"_254":5139},"Bantam Classics Series",{"_254":5141},"352",{"_254":5143},"6.88",{"_254":5145},"4.18",{"_254":5147},"0.91",{"_254":5149},"12.0",{"_254":5151},"18.0",{"_254":4588},{"_254":4659},{"_254":5155},"[{\"contributorId\":151957,\"firstName\":\"William\",\"lastName\":\"Shakespeare\",\"jobName\":\"Author\",\"jobPrimary\":true,\"jobType\":\"Creative\",\"sequenceNumber\":12},{\"contributorId\":149584,\"firstName\":\"David Scott\",\"lastName\":\"Kastan\",\"jobName\":\"Editor\",\"jobPrimary\":false,\"jobType\":\"Creative\",\"sequenceNumber\":86},{\"contributorId\":343801,\"firstName\":\"David\",\"lastName\":\"Bevington\",\"jobName\":\"Editor\",\"jobPrimary\":false,\"jobType\":\"Creative\",\"sequenceNumber\":87}]",{"_254":4671},{"_254":4675},{"_254":4678},{"_254":4681},{"_4684":4685,"_254":5161},"MM",[5163,5164,5165,5167,5168,-5,5169,5171,5173,5174,5175,-5,5177,-5,5179,-5,-5,-5,-5,5180,5182,5184,-5,-5,-5,-5,-5,-5,-5,5186,5187,-5,-5,-5],{"_265":266,"_267":298,"_254":4671},{"_265":266,"_267":4673,"_254":4675},{"_265":266,"_267":268,"_254":5166},"[{\"contributorId\":151957,\"fullName\":\"William Shakespeare\",\"jobName\":\"Author\",\"sequenceNumber\":12},{\"contributorId\":149584,\"fullName\":\"David Scott Kastan\",\"jobName\":\"Editor\",\"sequenceNumber\":86},{\"contributorId\":343801,\"fullName\":\"David Bevington\",\"jobName\":\"Editor\",\"sequenceNumber\":87}]",{"_265":266,"_267":280,"_254":4588},{"_265":266,"_267":283,"_254":4588},{"_265":266,"_267":290,"_254":5170},"81",{"_265":266,"_267":294,"_254":5172},"[{\"id\":\"16701760T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"

William Shakespeare was born in Stratford-upon-Avon in April 1564, and his birth is traditionally celebrated on April 23. The facts of his life, known from surviving documents, are sparse. He was one of eight children born to John Shakespeare, a merchant of some standing in his community. William probably went to the King’s New School in Stratford, but he had no university education. In November 1582, at the age of eighteen, he married Anne Hathaway, eight years his senior, who was pregnant with their first child, Susanna. She was born on May 26, 1583. Twins, a boy, Hamnet ( who would die at age eleven), and a girl, Judith, were born in 1585. By 1592 Shakespeare had gone to London working as an actor and already known as a playwright. A rival dramatist, Robert Greene, referred to him as “an upstart crow, beautified with our feathers.” Shakespeare became a principal shareholder and playwright of the successful acting troupe, the Lord Chamberlain’s Men (later under James I, called the King’s Men). In 1599 the Lord Chamberlain’s Men built and occupied the Globe Theater in Southwark near the Thames River. Here many of Shakespeare’s plays were performed by the most famous actors of his time, including Richard Burbage, Will Kempe, and Robert Armin. In addition to his 37 plays, Shakespeare had a hand in others, including Sir Thomas More and The Two Noble Kinsmen, and he wrote poems, including Venus and Adonis and The Rape of Lucrece. His 154 sonnets were published, probably without his authorization, in 1609. In 1611 or 1612 he gave up his lodgings in London and devoted more and more time to retirement in Stratford, though he continued writing such plays as The Tempest and Henry VII until about 1613. 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One of the most popular of Shakespeare's plays, King Lear is also one of the most thought-provoking. The play turns on the practical ramifications of the words of Christ that we should render unto Caesar that which is Caesar's and unto God that which is God's. When confronted with the demand that she should render unto Caesar that which is God's, Cordelia chooses to \"love and be silent\". As the play unfolds each of the principal characters learns wisdom through suffering. This edition includes new critical essays by some of the leading lights in contemporary literary scholarship.","One of the most popular of Shakespeare's plays, King Lear is also one of the most thought-provoking. The play turns on the practical ramifications of the words of Christ that we should render unto Caesar that which is Caesar's and unto God that which is God's. When confronted with the demand that she should render unto Caesar that which is God's, Cordelia chooses to \"love and be silent\". 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The acclaimed Pelican Shakespeare series edited by A. R. Braunmuller and Stephen Orgel

The legendary Pelican Shakespeare series features authoritative and meticulously researched texts paired with scholarship by renowned Shakespeareans. Each book includes an essay on the theatrical world of Shakespeare’s time, an introduction to the individual play, and a detailed note on the text used. Updated by general editors Stephen Orgel and A. R. Braunmuller, these easy-to-read editions incorporate over thirty years of Shakespeare scholarship undertaken since the original series, edited by Alfred Harbage, appeared between 1956 and 1967. With definitive texts and illuminating essays, the Pelican Shakespeare will remain a valued resource for students, teachers, and theater professionals for many years to come.

For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

","The acclaimed Pelican Shakespeare series edited by A. R. Braunmuller and Stephen Orgel The legendary Pelican Shakespeare series features authoritative and meticulously researched texts paired with scholarship by renowned Shakespeareans. Each book includes an essay on the theatrical world of Shakespeare’s time, an introduction to the individual play, and a detailed note on the text used. Updated by general editors Stephen Orgel and A. R. Braunmuller, these easy-to-read editions incorporate over thirty years of Shakespeare scholarship undertaken since the original series, edited by Alfred Harbage, appeared between 1956 and 1967. With definitive texts and illuminating essays, the Pelican Shakespeare will remain a valued resource for students, teachers, and theater professionals for many years to come. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.",[4586,4587],{"_224":5353,"_235":5354},{"_226":925,"_228":229},{"_226":925,"_228":229},{"_224":5356,"_235":5357},{"_226":234,"_228":229},{"_226":234,"_228":229},{"_239":5359},[5360],{"_36":5361,"_60":5362,"_221":-5,"_62":5363,"_56":319},"gid://shopify/ProductImage/48968324677872","https://cdn.shopify.com/s/files/1/0737/7593/9824/files/489269369.jpg?v=1751467267",1306,{"_239":5365},[5366],{"_36":5367,"_192":5368},"gid://shopify/MediaImage/40659839746288",{"_36":5369,"_60":5362,"_221":-5,"_62":5363,"_56":319},"gid://shopify/ImageSource/40688806166768",[5371],{"_252":253,"_4606":5372},[5373],{"_252":255,"_4609":5374,"_4618":-5},{"_230":121,"_243":-5,"_36":5375,"_192":5376,"_245":5377,"_247":5378,"_249":5379,"_256":5348,"_78":255,"_257":-5,"_4617":121},"gid://shopify/ProductVariant/47049241166064",{"_203":4754,"_36":5361,"_60":5362,"_221":-5,"_62":5363,"_56":319},{"_226":925,"_228":229},{"_78":5346,"_209":5348},[5380],{"_252":253,"_254":255},{"_230":121,"_243":-5,"_36":5375,"_192":5382,"_245":5383,"_247":5384,"_249":5385,"_256":5348,"_78":255,"_257":-5,"_4617":121},{"_203":4754,"_36":5361,"_60":5362,"_221":-5,"_62":5363,"_56":319},{"_226":925,"_228":229},{"_78":5346,"_209":5348},[5386],{"_252":253,"_254":255},[],{"_211":-5,"_78":-5},{"_254":5348},{"_254":4632},{"_254":4634},{"_254":5393},"2000-02-28T05:00:00Z",{"_254":4640},{"_254":5396},"2000-01-28T05:00:00Z",{"_254":5398},"Pelican Shakespeare Series",{"_254":5400},"320",{"_254":5402},"7.72",{"_254":5404},"5.06",{"_254":5406},"0.66",{"_254":5151},{"_254":5151},{"_254":4588},{"_254":4659},{"_254":5412},"[\"Discover Title (p145)\"]",{"_254":5414},"[{\"contributorId\":151957,\"firstName\":\"William\",\"lastName\":\"Shakespeare\",\"jobName\":\"Author\",\"jobPrimary\":true,\"jobType\":\"Creative\",\"sequenceNumber\":1},{\"contributorId\":242530,\"firstName\":\"Stephen\",\"lastName\":\"Orgel\",\"jobName\":\"Editor\",\"jobPrimary\":false,\"jobType\":\"Creative\",\"sequenceNumber\":2},{\"contributorId\":242530,\"firstName\":\"Stephen\",\"lastName\":\"Orgel\",\"jobName\":\"Introduction\",\"jobPrimary\":false,\"jobType\":\"Creative\",\"sequenceNumber\":3},{\"contributorId\":260058,\"firstName\":\"A. R.\",\"lastName\":\"Braunmuller\",\"jobName\":\"Editor\",\"jobPrimary\":false,\"jobType\":\"Creative\",\"sequenceNumber\":4}]",{"_254":4671},{"_254":3954},{"_254":4678},{"_254":4681},{"_4684":4685,"_254":4686},[5421,5422,5423,5425,5426,-5,5427,5428,5430,5431,5432,-5,5433,-5,5435,-5,-5,-5,-5,5436,5437,-5,-5,-5,-5,-5,-5,-5,-5,5439,5440,-5,-5,-5],{"_265":266,"_267":298,"_254":4671},{"_265":266,"_267":4673,"_254":3954},{"_265":266,"_267":268,"_254":5424},"[{\"contributorId\":151957,\"fullName\":\"William Shakespeare\",\"jobName\":\"Author\",\"sequenceNumber\":1},{\"contributorId\":242530,\"fullName\":\"Stephen Orgel\",\"jobName\":\"Editor\",\"sequenceNumber\":2},{\"contributorId\":242530,\"fullName\":\"Stephen Orgel\",\"jobName\":\"Introduction\",\"sequenceNumber\":3},{\"contributorId\":260058,\"fullName\":\"A. R. Braunmuller\",\"jobName\":\"Editor\",\"sequenceNumber\":4}]",{"_265":266,"_267":280,"_254":4588},{"_265":266,"_267":283,"_254":4588},{"_265":266,"_267":290,"_254":4698},{"_265":266,"_267":294,"_254":5429},"[{\"id\":\"53237472T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"1\",\"text\":\"“Gorgeous new Shakespeare paperbacks.”
—Marlon James, author of A Brief History of Seven Killings\"},{\"id\":\"47823564T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"

William Shakespeare was born in Stratford-upon-Avon in April, 1564, and his birth is traditionally celebrated on April 23. The facts of his life, known from surviving documents, are sparse. He died on April 23, 1616, and was buried in Holy Trinity Church, Stratford.

A. R. Braunmuller is Distinguished Professor of English and Comparative Literature at the University of California at Los Angeles. He has written critical volumes on George Peele and George Chapman and has edited plays in both the Oxford (King John) and Cambridge (Macbeth) series of Shakespeare editions. He is also general editor of The New Cambridge Shakespeare.

Stephen Orgel is the Jackson Eli Reynolds Professor of the Humanities at Stanford University and general editor of the Cambridge Studies in Renaissance Literature and Culture. His books include Imagining Shakespeare, The Authentic Shakespeare, Impersonations: The Performance of Gender in Shakespeare’s England and The Illusion of Power.\"}]",{"_265":266,"_267":4629,"_254":5348},{"_265":266,"_267":306,"_254":4632},{"_265":266,"_267":4704,"_254":4901},{"_265":266,"_267":4707,"_254":5434},"183042",{"_265":266,"_267":302,"_254":4634},{"_265":266,"_267":4711,"_254":4806},{"_265":266,"_267":4714,"_254":5438},"[{\"categoryId\":\"2916841\",\"displayName\":\"Paperback\",\"displayWeight\":200,\"typeId\":128,\"isSignificant\":false},{\"categoryId\":\"2821889\",\"displayName\":\"Literature\",\"displayWeight\":200,\"typeId\":128,\"isSignificant\":false},{\"categoryId\":\"831896\",\"displayName\":\"Drama \",\"displayWeight\":180,\"typeId\":24,\"isSignificant\":false},{\"categoryId\":\"392504\",\"displayName\":\"General & Miscellaneous Drama \",\"displayWeight\":170,\"typeId\":11,\"isSignificant\":false},{\"categoryId\":\"393148\",\"displayName\":\"General & Miscellaneous Drama\",\"displayWeight\":160,\"typeId\":12,\"isSignificant\":false},{\"categoryId\":\"434648\",\"displayName\":\"Kings and rulers->Drama \",\"displayWeight\":150,\"typeId\":13,\"isSignificant\":false},{\"categoryId\":\"393143\",\"displayName\":\"English Drama\",\"displayWeight\":160,\"typeId\":12,\"isSignificant\":false},{\"categoryId\":\"110341\",\"displayName\":\"English drama (Tragedy) \",\"displayWeight\":150,\"typeId\":13,\"isSignificant\":true},{\"categoryId\":\"3784159\",\"displayName\":\"Tragedy - Drama\",\"displayWeight\":160,\"typeId\":12,\"isSignificant\":false},{\"categoryId\":\"3635767\",\"displayName\":\"Nonfiction\",\"displayWeight\":200,\"typeId\":128,\"isSignificant\":false},{\"categoryId\":\"2798851\",\"displayName\":\"Print Books\",\"displayWeight\":200,\"typeId\":128,\"isSignificant\":false},{\"categoryId\":\"2796683\",\"displayName\":\"Books\",\"displayWeight\":200,\"typeId\":128,\"isSignificant\":false},{\"categoryId\":\"433383\",\"displayName\":\"Inheritance and succession->Drama \",\"displayWeight\":150,\"typeId\":13,\"isSignificant\":false},{\"categoryId\":\"945397\",\"displayName\":\"Family/Domestic Drama \",\"displayWeight\":160,\"typeId\":12,\"isSignificant\":false},{\"categoryId\":\"2821887\",\"displayName\":\"Fiction\",\"displayWeight\":200,\"typeId\":128,\"isSignificant\":false},{\"categoryId\":\"972778\",\"displayName\":\"Fiction & Literature Classics\",\"displayWeight\":180,\"typeId\":24,\"isSignificant\":false},{\"categoryId\":\"972803\",\"displayName\":\"English, Irish, Scottish Fiction & Literature Classics \",\"displayWeight\":160,\"typeId\":12,\"isSignificant\":false},{\"categoryId\":\"393144\",\"displayName\":\"Shakespeare\",\"displayWeight\":160,\"typeId\":12,\"isSignificant\":false}]",{"_265":266,"_267":4635,"_254":5393},{"_265":266,"_267":4638,"_254":4640},{"_4720":5442},{"_36":5443,"_78":5444,"_4576":5445,"_209":5446,"_213":5447,"_211":5448,"_4580":4581,"_4582":4581,"_4584":5449,"_207":4588,"_222":5450,"_231":5453,"_4597":5456,"_4600":5468,"_4603":5478,"_4619":5489,"_4626":5495,"_4472":5496,"_4629":5497,"_306":5498,"_302":5499,"_4635":5500,"_4638":5502,"_4641":-5,"_4642":5503,"_272":5505,"_4645":5507,"_56":5509,"_62":5510,"_4652":5512,"_4655":-5,"_4656":-5,"_283":5514,"_4546":5515,"_4660":-5,"_4661":-5,"_258":5516,"_4662":5517,"_4665":-5,"_4668":-5,"_4669":-5,"_298":5519,"_4672":-5,"_4673":5520,"_4676":5521,"_4679":5522,"_4682":5523,"_4687":-5,"_4688":-5,"_4689":-5,"_261":5524},"gid://shopify/Product/9223052624112","King Lear (Barnes & Noble Shakespea","Barnes & Noble Shakespeare","9781411400795","

King Lear, by William Shakespeare, is part of the Barnes & Noble Shakespeare series. This unique series features newly edited texts prepared by leading scholars from America and Great Britain, in collaboration with one of the world’s foremost Shakespeare authorities, David Scott Kastan of Columbia University. Together they have produced texts as faithful as possible to those that Shakespeare wrote.

Each volume in the Barnes & Noble Shakespeare includes:

\nNew Scholarship – Premiere scholars introduce each play with contemporary scholarship. An essay on editing the text provides an in-depth look at the quartos and folios used in the edition.
\nContextualizing Essays – Essays on Shakespeare’s England, language, and life, along with essays on performing Shakespeare and significant performances frame the play in both historical and theatrical context for readers. A look at the lasting influence of the play on music, art, film, and dance creates an interdisciplinary framework with which to approach the play.
\nBetter Notes – Through one-word margin definitions, facing-page glosses, and longer end notes after the play, our innovative approach to notes pulls readers away from the text fewer times while providing them with more information and comprehensive analysis.
\nFurther Reading – An annotated bibliography of titles, hand-selected by the introduction author, takes readers beyond the edition for further reading.

One of Shakespeare’s greatest tragedies, King Lear portrays with frightening power the collapse of royal and parental authority. The editor, Andrew Hadfield, restores the play to its historical context, showing how the names and places in the ancient Britain of the play connect to Shakespeare’s England.","King Lear, by William Shakespeare, is part of the Barnes & Noble Shakespeare series. This unique series features newly edited texts prepared by leading scholars from America and Great Britain, in collaboration with one of the world’s foremost Shakespeare authorities, David Scott Kastan of Columbia University. Together they have produced texts as faithful as possible to those that Shakespeare wrote. Each volume in the Barnes & Noble Shakespeare includes: New Scholarship – Premiere scholars introduce each play with contemporary scholarship. An essay on editing the text provides an in-depth look at the quartos and folios used in the edition. Contextualizing Essays – Essays on Shakespeare’s England, language, and life, along with essays on performing Shakespeare and significant performances frame the play in both historical and theatrical context for readers. A look at the lasting influence of the play on music, art, film, and dance creates an interdisciplinary framework with which to approach the play. Better Notes – Through one-word margin definitions, facing-page glosses, and longer end notes after the play, our innovative approach to notes pulls readers away from the text fewer times while providing them with more information and comprehensive analysis. Further Reading – An annotated bibliography of titles, hand-selected by the introduction author, takes readers beyond the edition for further reading. One of Shakespeare’s greatest tragedies, King Lear portrays with frightening power the collapse of royal and parental authority. The editor, Andrew Hadfield, restores the play to its historical context, showing how the names and places in the ancient Britain of the play connect to Shakespeare’s England.",[4586,4587],{"_224":5451,"_235":5452},{"_226":4595,"_228":229},{"_226":4595,"_228":229},{"_224":5454,"_235":5455},{"_226":234,"_228":229},{"_226":234,"_228":229},{"_239":5457},[5458,5463],{"_36":5459,"_60":5460,"_221":-5,"_62":5461,"_56":5462},"gid://shopify/ProductImage/49366710518000","https://cdn.shopify.com/s/files/1/0737/7593/9824/files/607262154.jpg?v=1753515262",644,999,{"_36":5464,"_60":5465,"_221":-5,"_62":5466,"_56":5467},"gid://shopify/ProductImage/49366710157552","https://cdn.shopify.com/s/files/1/0737/7593/9824/files/13438092.jpg?v=1753515259",446,700,{"_239":5469},[5470,5474],{"_36":5471,"_192":5472},"gid://shopify/MediaImage/40920101290224",{"_36":5473,"_60":5460,"_221":-5,"_62":5461,"_56":5462},"gid://shopify/ImageSource/40952813912304",{"_36":5475,"_192":5476},"gid://shopify/MediaImage/40920100929776",{"_36":5477,"_60":5465,"_221":-5,"_62":5466,"_56":5467},"gid://shopify/ImageSource/40952813551856",[5479],{"_252":253,"_4606":5480},[5481],{"_252":255,"_4609":5482,"_4618":-5},{"_230":121,"_243":-5,"_36":5483,"_192":5484,"_245":5485,"_247":5486,"_249":5487,"_256":5446,"_78":255,"_257":-5,"_4617":121},"gid://shopify/ProductVariant/47052413010160",{"_203":4754,"_36":5459,"_60":5460,"_221":-5,"_62":5461,"_56":5462},{"_226":4595,"_228":229},{"_78":5444,"_209":5446},[5488],{"_252":253,"_254":255},{"_230":121,"_243":-5,"_36":5483,"_192":5490,"_245":5491,"_247":5492,"_249":5493,"_256":5446,"_78":255,"_257":-5,"_4617":121},{"_203":4754,"_36":5459,"_60":5460,"_221":-5,"_62":5461,"_56":5462},{"_226":4595,"_228":229},{"_78":5444,"_209":5446},[5494],{"_252":253,"_254":255},[],{"_211":-5,"_78":-5},{"_254":5446},{"_254":4632},{"_254":4634},{"_254":5501},"2007-07-30T04:00:00Z",{"_254":5051},{"_254":5504},"2007-07-29T04:00:00Z",{"_254":5506},"Barnes & Noble Shakespeare Series",{"_254":5508},"408",{"_254":4649},{"_254":5511},"5.1",{"_254":5513},"1.2",{"_254":4588},{"_254":4659},{"_254":5412},{"_254":5518},"[{\"contributorId\":151957,\"firstName\":\"William\",\"lastName\":\"Shakespeare\",\"jobName\":\"Author\",\"jobPrimary\":true,\"jobType\":\"Creative\",\"sequenceNumber\":1},{\"contributorId\":149584,\"firstName\":\"David Scott\",\"lastName\":\"Kastan\",\"jobName\":\"Introduction\",\"jobPrimary\":false,\"jobType\":\"Creative\",\"sequenceNumber\":2},{\"contributorId\":263464,\"firstName\":\"Andrew\",\"lastName\":\"Hadfield\",\"jobName\":\"Editor\",\"jobPrimary\":false,\"jobType\":\"Creative\",\"sequenceNumber\":3},{\"contributorId\":149584,\"firstName\":\"David Scott\",\"lastName\":\"Kastan\",\"jobName\":\"Editor\",\"jobPrimary\":false,\"jobType\":\"Creative\",\"sequenceNumber\":4}]",{"_254":4671},{"_254":3954},{"_254":4678},{"_254":4681},{"_4684":4685,"_254":4686},[5525,5526,5527,5529,5530,-5,5531,5532,5534,5535,5536,-5,5537,-5,5539,-5,-5,-5,-5,5540,5542,-5,-5,-5,-5,-5,-5,-5,-5,5544,5545,-5,-5,-5],{"_265":266,"_267":298,"_254":4671},{"_265":266,"_267":4673,"_254":3954},{"_265":266,"_267":268,"_254":5528},"[{\"contributorId\":151957,\"fullName\":\"William Shakespeare\",\"jobName\":\"Author\",\"sequenceNumber\":1},{\"contributorId\":149584,\"fullName\":\"David Scott Kastan\",\"jobName\":\"Introduction\",\"sequenceNumber\":2},{\"contributorId\":263464,\"fullName\":\"Andrew Hadfield\",\"jobName\":\"Editor\",\"sequenceNumber\":3},{\"contributorId\":149584,\"fullName\":\"David Scott Kastan\",\"jobName\":\"Editor\",\"sequenceNumber\":4}]",{"_265":266,"_267":280,"_254":4588},{"_265":266,"_267":283,"_254":4588},{"_265":266,"_267":290,"_254":4698},{"_265":266,"_267":294,"_254":5533},"[{\"id\":\"51454210T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"1\",\"text\":\"\\\"These different essays offer us a variety of approaches, but the main conclusion we can take from this compilation of translations is that the debates on the place of religion in China are far more sophisticated than assumed by non-specialists, […] This book will be a very useful resource for libraries, and can serve as a very useful starting point for policy-makers, business people, academics, and everyone interested in person-to-person exchanges with China who would also like to gain insight on the official perspectives on religion.”
André Laliberté, University of Ottawa, Journal of Chinese Religions Volume 43/2 (2015)

\\\"Marxism and Religion makes accessible to English readers a representative sampling of academic and policy discussion from the top levels of the religious academic/policy establishment in the world’s most populous nation.\\\"
Ryan Dunch, University of Alberta, Journal of Church and State (July 2016)\"},{\"id\":\"39332003T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"

Lü Daji (1931 - 2012) was a Senior Research Fellow of Religious Studies at the Institute of World Religions, Chinese Academy of Social Sciences (CASS). He was a leading Marxist scholar and published numerous monographs and articles on religion.

Gong Xuezeng is Professor of Religious Studies at the CCP’s Central Party School. He has published dozens of books devoted to topics such as relations existing between religion and socialism and roles religion plays in China’s peaceful development.

Chi Zhen, Ph.D. (2007), National University of Singapore, is Associate Research Fellow at the Shanghai Academy of Social Sciences. He has published monographs and articles on Chinese intellectual history. He teaches modern Chinese history at China Executive Leadership Academy Jinggangshan.

Thomas David DuBois is Senior Research Fellow in Chinese history at the Australian National University. He is author of Sacred Village: Social Change and Religious Life in Rural North China (Hawaii, 2005), and Religion and the Making of Modern East Asia (Cambridge, 2011), and has also written on the economic, legal and social history of the Chinese northeast.\"}]",{"_265":266,"_267":4629,"_254":5446},{"_265":266,"_267":306,"_254":4632},{"_265":266,"_267":4704,"_254":4901},{"_265":266,"_267":4707,"_254":5538},"382966",{"_265":266,"_267":302,"_254":4634},{"_265":266,"_267":4711,"_254":5541},"[\"Paperback\",\"Fiction\",\"Fiction Subjects\",\"Literary Styles & Movements - Fiction\",\"FICTION / Classics\",\"Literature\",\"Drama \",\"General & Miscellaneous Drama \",\"General & Miscellaneous Drama\",\"Kings and rulers->Drama \",\"Print Books\",\"Books\",\"Discover Title\",\"Inheritance and succession->Drama \",\"Family/Domestic Drama 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Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"King Lear

An Introduction to This Text

The play we call King Lear was printed in two different versions in the first quarter of the seventeenth century.

In 1608 appeared M. William Shak-speare: His True Chronicle Historie of the life and death of King Lear and his three Daughters. With the vnfortunate life of Edgar, sonne and heire to the Earle of Gloster, and his sullen and assumed humor of Tom of Bedlam. This printing was a quarto or pocket-size book known today as “Q1.” It is remarkable among early printed Shakespeare plays for its hundreds of lines of verse that are either erroneously divided or set as prose; in addition, some of its prose is set as verse. As Q1 was going through the press, it was extensively corrected; thus different copies of its pages contain different readings. Sometimes the correction appears to be competent; at other times, however, it is better called “miscorrection.” (In 1619 appeared a second quarto printing of the play [“Q2”]. It was, for the most part, simply a reprint of Q1, but it contained many corrections [as well as new errors] and changes, especially in the lining of verse in the last scene or so of Act 4 and in Act 5. This second printing had exactly the same title as Q1, and it even retained on its title page the 1608 date of Q1; the true date of Q2’s printing [1619] was not discovered until early in the twentieth century.)

The second version to see print is found in the First Folio of Shakespeare’s plays, published in 1623 (“F”). Entitled simply The Tragedie of King Lear, F contains over 100 lines that are not in Q1; at the same time F lacks about 300 lines (including a whole scene, 4.3) that are present in Q1. Many of the lines unique to Q1 or to F cluster together in quite extensive passages. The Q1 and F versions also differ from each other in their readings of over 800 words. In spite of the wide differences between the quarto and Folio printings, there is, nevertheless, such close agreement in punctuation between Q2 and F on some pages that the suspicion arises that the F typesetters may have referred to Q2 even if their copy was a manuscript. Thus when F agrees with Q2 against Q1, editors sometimes suspect that F may have been led into error by Q2 (see, for example, in the textual notes 1.4.32, 141; 2.1.141; 2.2.165; 4.2.74, 96; 4.6.299; 4.7.68; 5.3.186). In other cases, however, F agrees with Q2 in the correction of obvious (or nearly obvious) errors in Q1 (see, for example, in the textual notes 1.1.163; 1.4.327; 1.5.8; 2.1.13SD, 63; 2.2.98, 152, 163, 171; 2.4.121; 186, 246; 3.3.3; 3.7.90; 4.1.10; 4.2.18; 4.4.30; 4.5.8; 4.6.49, 53, 85, 100, 127, 286; 5.1.63; 5.2.5SD; 5.3.30SD, 365, 370).

Title page of the First Quarto of King Lear, 1608 (facsimile).

From the 1623 First Folio.

(Copy 54 in the Folger Shakespeare Library collection.)

Since early in the eighteenth century, editors have combined Q1 and F to produce what is termed a “conflated text.” But it is impossible in any edition to combine the whole of the two versions, because they often provide alternative readings that are mutually exclusive; for example, when Q1 has the earl of Gloucester in his first speech refer to Lear’s planned “division of the kingdoms,” the Folio prints the singular “kingdom.” In such cases (and there are a great many such cases), editors must choose whether to be guided by Q1 or by F in selecting what to print.

Twentieth-century editors of Shakespeare made the decision about which version of King Lear to prefer according to their theories about the origins of the early printed texts. For the greater part of the century, editors preferred F to Q1 in the belief that the Q1 text originated either in a shorthand transcription of a performance or in a reconstruction of the play by actors who depended on their memories of their parts. On the other hand, the F text was believed to have come down to us without the intervention of shorthand or memorial reconstruction. In the past few decades, however, Q1 has found more favor with some editors according to a theory that it was printed directly from Shakespeare’s own manuscript and that F was set into type from a version of the play that had been rehandled by another dramatist after Shakespeare’s retirement from the theater. This second theory is today in competition with yet a third theory that holds that Q1 and F are distinct, independent Shakespearean versions of the play that ought never to be combined with each other in an edition. Those who hold this third theory think that Q1 was printed from Shakespeare’s own manuscript, but they also think that the F text is the product of a revision of the play by Shakespeare after the printing of Q1. Nevertheless, as scholars reexamine all such narratives about the origins of the printed texts, we discover that the evidence upon which they are based is questionable, and we become more skeptical about ever identifying with any certainty how the play assumed the forms in which it was printed.

The present edition is based upon a fresh examination of the early printed texts rather than upon any modern edition.I It offers its readers the Folio printing of King Lear.II But it offers an edition of the Folio because it prints such Q1 readings and such later editorial emendations as are, in the editors’ judgments, necessary to repair what may be errors and deficiencies in the Folio. Furthermore, the present edition also offers its readers all the passages and a number of the words that are to be found only in Q1 (and not in F), marking them as such (see below).

Q1 words are added when their omission seems to leave a gap in our text. For example, in the first scene of the play, a speech of Cordelia’s concludes in F with the line “Sure I shall never marry like my sisters”—without specifying the respect in which her marriage will differ from theirs. Q1 alone provides the required specification with an additional half-line, “To love my father all,” and we include Q1’s half-line in our text. (For similar additions, see 1.1.49, 75, 175, 246, 335; 1.2.140–41; 1.3.29; 1.4.195, 267–68, 321; 2.2.29; 3.2.85; 3.4.51, 52, 122, 143; 4.1.48; 4.5.43; 4.6.299; 4.7.28, 67; 5.1.20; 5.3.54. In a number of these cases the Q1 word or words are added to fill out short [and metrically deficient] lines in F.) We also add an oath from Q1 (“Fut,” 1.2.138) that may have been removed from the F text through censorship. However, when F lacks Q1 words that appear to add nothing of significance, we do not add these words to our text. For example, Q1 adds the word “attire” to the end of Lear’s statement to Edgar, “I do not like the fashion of your garments. You will say they are Persian” (3.6.83–85). Here the Q1 word “attire” seems a mere repetition of the earlier “garments.” (Compare, among many instances, Q1 additions not included in our text—words that are sometimes needless, sometimes superfluous—listed in the textual notes at 1.1.60; 2.4.266; 3.6.83; 3.7.66, 68; 4.6.298.)

Sometimes Q1 readings are substituted for F words when a word in F is unintelligible (i.e., not a word) or is incorrect according to the standards of that time for acceptable grammar, rhetoric, idiom, or usage, and Q1 provides an intelligible and acceptable word. Examples of such substitutions are Q1’s “fathers” (modernized to “father’s”) for F’s “Farhers” (1.2.18), Q1’s “your” for F’s “yout” (2.1.122), Q1’s “possesses” for F’s “professes” (1.1.82), or Q1’s “panting” for F’s “painting” when Oswald is referred to as “half breathless, ⟨panting⟩” (2.4.36). (Compare substitutions from Q1 at 1.1.5, 72, 176, 259; 1.4.1, 51, 164, 182, 203; 2.1.2, 61, 80, 92, 101–2, 144; 2.2.0SD, 23, 82, 83, 131, 141, 166, 187; 2.3.4, 18, 19; 2.4.8, 12, 39, 65, 82, 144, 146, 212; 3.2.3; 3.4.12, 51, 56, 57, 97, 123; 3.5.26; 3.6.73; 4.1.65; 4.2.91; 4.4.3, 12SP, 20; 4.6.22, 77, 102, 180, 300; 4.7.0SP, 15SP; 5.1.52, 55; 5.3.82SP, 99, 101, 118, 160, 163, 177, 308.) We recognize that our understanding of what was acceptable in Shakespeare’s time is to some extent inevitably based upon reading others’ editions of King Lear, but it is also based on reading other writing from the period and on historical dictionaries and studies of Shakespeare’s grammar.

Finally, we print a word from Q1 rather than from F when a word in F seems at odds with the story that the play tells and Q1 supplies a word that coheres with the story. For example, when Lear enters at the beginning of 2.4 he wonders, in F, why Cornwall and Regan did “not send back my Messengers.” But, as far as we know, Lear has sent only a single messenger (Kent) to Cornwall and Regan. Therefore, like most other editors, we print Q1’s “messenger” for F’s “Messengers.” (Compare 1.1.214 and 5.3.193.) Because we rarely substitute Q1 words for F’s, our edition is closer to F than are most other editions of the play available today.

In order to enable its readers to tell the difference between the F and Q1 versions, the present edition uses a variety of signals:

(1) All the words in this edition that are printed only in the First Quarto but not in the Folio appear in pointed brackets (⟨ ⟩).

(2) All full lines that are found only in the Folio and not in the First Quarto are printed in brackets ([ ]).

(3) Sometimes neither the Folio nor the First Quarto seems to offer a satisfactory reading, and it is necessary to print a word different from what is offered by either. Such words (called “emendations” by editors) are printed within half-brackets (< >).

In this edition, whenever we change the wording of the Folio or add anything to its stage directions, we mark the change. We want our readers to be immediately aware when we have intervened. (Only when we correct an obvious typographical error in the First Quarto or Folio does the change not get marked in our text.) Whenever we change the Folio or Quarto’s wording or change their punctuation so that meaning is changed, we list the change in the textual notes at the back of the book. Those who wish to find the Quarto’s alternatives to the Folio’s readings will be able to find these also in the textual notes.

For the convenience of the reader, we have modernized the punctuation and the spelling of both the Folio and the First Quarto. Thus, for example, our text supplies the modern standard spelling “father’s” for the Quarto’s spelling “fathers” (quoted above). Sometimes we go so far as to modernize certain old forms of words; for example, when a means “he,” we change it to he; we change mo to more and ye to you. But it is not our practice in editing any of the plays to modernize forms of words that sound distinctly different from modern forms. For example, when the early printed texts read sith or apricocks or porpentine, we have not modernized to since, apricots, porcupine. When the forms an, and, or and if appear instead of the modern form if, we have reduced and to an but have not changed any of these forms to their modern equivalent, if. We also modernize and, where necessary, correct passages in foreign languages, unless an error in the early printed text can be reasonably explained as a joke.

We correct or regularize a number of the proper names, as is the usual practice in editions of the play. For example, the Folio’s spellings “Gloster” and “Burgundie” are changed to the familiar “Gloucester” and “Burgundy”; and there are a number of other comparable adjustments in the names.

This edition differs from many earlier ones in its efforts to aid the reader in imagining the play as a performance rather than as a series of historical events. Thus stage directions are written with reference to the stage. For example, in 1.2 Edmund is represented in the dialogue and in the fiction of the play as putting a letter in his pocket. On the stage this letter would, however, be represented by a piece of paper. Thus the present edition reads “He puts a paper in his pocket” rather than “a letter.”

Whenever it is reasonably certain, in our view, that a speech is accompanied by a particular action, we provide a stage direction describing the action. (Occasional exceptions to this rule occur when the action is so obvious that to add a stage direction would insult the reader.) Stage directions for the entrance of characters in mid-scene are, with rare exceptions, placed so that they immediately precede the characters’ participation in the scene, even though these entrances may appear somewhat earlier in the early printed texts. Whenever we move a stage direction, we record this change in the textual notes. Latin stage directions (e.g., Exeunt) are translated into English (e.g., They exit).

We expand the often severely abbreviated forms of names used as speech headings in early printed texts into the full names of the characters. We also regularize the speakers’ names in speech headings, using only a single designation for each character, even though the early printed texts sometimes use a variety of designations. Variations in the speech headings of the early printed texts are recorded in the textual notes.

In the present edition, as well, we mark with a dash any change of address within a speech, unless a stage direction intervenes. When the -ed ending of a word is to be pronounced, we mark it with an accent.

Like editors for the last two centuries, we print metrically linked lines in the following way:

LEAR

Mak’st thou this shame thy pastime?

KENT No, my lord.

However, when there are a number of short verse lines that can be linked in more than one way, we do not, with rare exceptions, indent any of them.

The Explanatory Notes

The notes that appear in the commentary linked to the text are designed to provide readers with the help that they may need to enjoy the play. Whenever the meaning of a word in the text is not readily accessible in a good contemporary dictionary, we offer the meaning in a note. Sometimes we provide a note even when the relevant meaning is to be found in the dictionary but when the word has acquired since Shakespeare’s time other potentially confusing meanings. In our notes, we try to offer modern synonyms for Shakespeare’s words. We also try to indicate to the reader the connection between the word in the play and the modern synonym. For example, Shakespeare sometimes uses the word head to mean “source,” but, for modern readers, there may be no connection evident between these two words. We provide the connection by explaining Shakespeare’s usage as follows: “head: fountainhead, source.” On some occasions, a whole phrase or clause needs explanation. Then we rephrase in our own words the difficult passage, and add at the end synonyms for individual words in the passage. When scholars have been unable to determine the meaning of a word or phrase, we acknowledge the uncertainty. Biblical quotations are from the Geneva Bible (1560), with the spelling and punctuation modernized.

I We have also consulted a computerized text of the First Folio provided by the Text Archive of the Oxford University Computing Centre, to which we are grateful. Also of great value was Michael Warren’s The Complete King Lear (Berkeley: University of California Press, 1989).

II We choose F not because we believe that it stands in closer relation to Shakespeare than Q1 (we do not think it possible to establish which of Q1 or F is closer to the historical figure Shakespeare) but because F is a “better” text than Q1 in that it requires an editor to make fewer changes to its line division and wording than an editor must make to Q1.\"},{\"id\":\"5944824T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"2\",\"text\":\"

Chapter One

Act 1 Scene 1 running scene 1

Enter Kent, Gloucester and Edmund

KENT I thought the king had more affected the Duke of Albany than Cornwall.

KENT Is not this your son, my lord?

GLOUCESTER 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.

GLOUCESTER Sir, this young fellow's mother could; whereupon she grew round-wombed and had indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault?

KENT I cannot wish the fault undone, the issue of it being so proper.

EDMUND No, my lord.

GLOUCESTER My lord of Kent: remember him hereafter as my honourable friend.

EDMUND My services to your lordship.

KENT I must love you, and sue to know you better.

EDMUND Sir, I shall study deserving.

GLOUCESTER He hath been out nine years, and away he shall again. The king is coming.

Sennet. Enter [one bearing a coronet, then] King Lear, Cornwall, Albany, Goneril, Regan, Cordelia and Attendants

LEAR Attend the lords of France and Burgundy, Gloucester.

GLOUCESTER I shall, my lord. Exit

LEAR Meantime we shall express our darker purpose.

Give me the map there. Kent or an Attendant gives Lear a map

Know that we have divided

In three our kingdom, and 'tis our fast intent

To shake all cares and business from our age,

Conferring them on younger strengths while we

Unburdened crawl toward death. Our son of

Cornwall,

And you our no less loving son of Albany,

We have this hour a constant will to publish

Our daughters' several dowers, that future strife

May be prevented now. The princes, France and

Burgundy,

Great rivals in our youngest daughter's love,

Long in our court have made their amorous sojourn

And here are to be answered. Tell me, my

daughters -

Since now we will divest us both of rule,

Interest of territory, cares of state -

Which of you shall we say doth love us most,

That we our largest bounty may extend

Where nature doth with merit challenge? Goneril,

Our eldest born, speak first.

GONERIL Sir, I love you more than word can wield the matter,

Dearer than eyesight, space and liberty,

Beyond what can be valued rich or rare,

No less than life, with grace, health, beauty, honour:

As much as child e'er loved or father found:

A love that makes breath poor and speech unable:

Beyond all manner of so much I love you.

CORDELIA What shall Cordelia speak? Love and be silent. Aside

LEAR Of all these bounds, even from this line to this, Points With shadowy forests and with champaigns riched, to the map

With plenteous rivers and wide-skirted meads,

We make thee lady. To thine and Albany's issues

Be this perpetual.- What says our second daughter?

Our dearest Regan, wife of Cornwall?

REGAN I am made of that self-mettle as my sister,

And prize me at her worth. In my true heart,

I find she names my very deed of love:

Only she comes too short, that I profess

Myself an enemy to all other joys

Which the most precious square of sense professes,

And find I am alone felicitate

In your dear highness' love.

CORDELIA Then poor Cordelia: Aside

And yet not so, since I am sure my love's

More ponderous 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 conferred on Goneril.- Now, our joy, To Cordelia

Although our last and least, to whose young love

The vines of France and milk of Burgundy

Strive to be interessed, what can you say to draw

A third more opulent than your sisters'? Speak.

CORDELIA Nothing, my lord.

LEAR Nothing?

CORDELIA Nothing.

LEAR Nothing will come of nothing: speak again.

CORDELIA Unhappy that I am, I cannot heave

My heart into my mouth: I love your majesty

According to my bond, no more nor less.

LEAR How, how, Cordelia? Mend your speech a little,

Lest you may mar your fortunes.

CORDELIA Good my lord,

You have begot me, bred me, loved me:

I return those duties back as are right fit,

Obey you, love you and most honour you.

Why have my sisters husbands if they say

They love you all? Happily when I shall wed,

That lord whose hand must take my plight shall

carry

Half my love with him, half my care and duty:

Sure I shall never marry like my sisters.

LEAR But goes thy heart with this?

CORDELIA Ay, my good lord.

LEAR So young and so untender?

CORDELIA So young, my lord, and true.

LEAR Let it be so: thy truth then be thy dower,

For by the sacred radiance of the sun,

The mysteries of Hecate and the night,

By all the operation of the orbs

From whom we do exist and cease to be,

Here I disclaim all my paternal care,

Propinquity and property of blood,

And as a stranger to my heart and me

Hold thee from this for ever. The barbarous Scythian,

Or he that makes his generation messes

To gorge his appetite, shall to my bosom

Be as well neighboured, pitied and relieved

As thou my sometime daughter.

KENT Good my liege-

LEAR Peace, Kent:

Come not between the dragon and his wrath.

I loved her most, and thought to set my rest

On her kind nursery.- Hence, and avoid my sight!- To

So be my grave my peace, as here I give Cordelia

Her father's heart from her. Call France. Who stirs?

Call Burgundy.- Cornwall and Albany,

[Exit Attendant]

With my two daughters' dowers digest the third.

Let pride, which she calls plainness, marry her.

I do invest you jointly with my power,

Pre-eminence, and all the large effects

That troop with majesty. Ourself by monthly course,

With reservation of an hundred knights

By you to be sustained, shall our abode

Make with you by due turn: only we shall retain

The name and all th'addition to a king: the sway,

Revenue, execution of the rest,

Belovèd sons, be yours, which to confirm,

This coronet part between you. Gives them coronet to break in half

KENT Royal Lear,

Whom I have ever honoured as my king,

Loved as my father, as my master followed,

As my great patron thought on in my prayers-

LEAR The bow is bent and drawn, make from the shaft.

KENT Let it fall rather, though the fork invade

The region of my heart: be Kent unmannerly

When Lear is mad. What wouldst thou do, old man?

Think'st thou that duty shall have dread to speak

When power to flattery bows? To plainness honour's

bound

When majesty falls to folly. Reserve thy state,

And in thy best consideration check

This hideous rashness. Answer my life my

judgement:

Thy youngest daughter does not love thee least,

Nor are those empty-hearted whose low sounds

Reverb no hollowness.

LEAR Kent, on thy life, no more.

KENT My life I never held but as pawn

To wage against thine enemies, ne'er fear to lose it,

Thy safety being motive.

LEAR Out of my sight!

KENT See better, Lear, and let me still remain

The true blank of thine eye.

LEAR Now, by Apollo-

KENT Now, by Apollo, king,

Thou swear'st thy gods in vain.

LEAR O, vassal! Miscreant! Puts his hand on his sword or attacks Kent

ALBANY and CORDELIA Dear sir, forbear.

KENT Kill thy physician, and thy fee bestow

Upon the foul disease. Revoke thy gift,

Or whilst I can vent clamour from my throat,

I'll tell thee thou dost evil.

LEAR Hear me, recreant, on thine allegiance hear me!

That thou hast sought to make us break our vows,

Which we durst never yet, and with strained pride

To come betwixt our sentences and our power,

Which nor our nature nor our place can bear,

Our potency made good, take thy reward:

Five days we do allot thee for provision

To shield thee from disasters of the world,

And on the sixth to turn thy hated back

Upon our kingdom: if on the next day following

Thy banished trunk be found in our dominions,

The moment is thy death. Away! By Jupiter,

This shall not be revoked.

KENT Fare thee well, king: sith thus thou wilt appear,

Freedom lives hence and banishment is here.-

The gods to their dear shelter take thee, maid, To Cordelia

That justly think'st, and hast most rightly said.-

And your large speeches may your deeds approve, To Goneril

That good effects may spring from words of love. and Regan

Thus Kent, O princes, bids you all adieu.

He'll shape his old course in a country new. Exit

Flourish. Enter Gloucester with France and Burgundy, Attendants

CORDELIA Here's France and Burgundy, my noble lord.

LEAR My lord of Burgundy,

We first address toward you, who with this king

Hath rivalled for our daughter: what in the least

Will you require in present dower with her,

Or cease your quest of love?

BURGUNDY Most royal majesty,

I crave no more than hath your highness offered,

Nor will you tender less.

LEAR Right noble Burgundy,

When she was dear to us, we did hold her so,

But now her price is fallen. Sir, there she stands:

If aught within that little seeming substance,

Or all of it, with our displeasure pieced,

And nothing more, may fitly like your grace,

She's there, and she is yours.

BURGUNDY I know no answer.

LEAR Will you, with those infirmities she owes,

Unfriended, new-adopted to our hate,

Dowered with our curse and strangered with our

oath,

Take her or leave her?

BURGUNDY Pardon me, royal sir:

Election makes not up in such conditions.

LEAR Then leave her, sir, for by the power that made me,

I tell you all her wealth.- For you, great king, To France

I would not from your love make such a stray

To match you where I hate, therefore beseech you

T'avert your liking a more worthier way

Than on a wretch whom nature is ashamed

Almost t'acknowledge hers.

FRANCE This is most strange,

That she whom even but now was your object,

The argument of your praise, balm of your age,

The best, the dearest, should in this trice of time

Commit a thing so monstrous to dismantle

So many folds of favour. Sure her offence

Must be of such unnatural degree

That monsters it, or your fore-vouched affection

Fall into taint, which to believe of her

Must be a faith that reason without miracle

Should never plant in me.

CORDELIA I yet beseech your majesty -

If for I want that glib and oily art

To speak and purpose not, since what I will intend

I'll do't before I speak - that you make known

It is no vicious blot, murder, or foulness,

No unchaste action or dishonoured step

That hath deprived me of your grace and favour,

But even for want of that for which I am richer:

A still-soliciting eye and such a tongue

That I am glad I have not, though not to have it

Hath lost me in your liking.

LEAR Better thou hadst

Not been born than not t'have pleased me better.

FRANCE Is it but this? A tardiness in nature,

Which often leaves the history unspoke

That it intends to do? My lord of Burgundy,

What say you to the lady? Love's not love

When it is mingled with regards that stands

Aloof from th'entire point. Will you have her?

She is herself a dowry.

BURGUNDY Royal king, To Lear

Give but that portion which yourself proposed,

And here I take Cordelia by the hand,

Duchess of Burgundy.

LEAR Nothing: I have sworn: I am firm.

BURGUNDY I am sorry, then, you have so lost a father To Cordelia

That you must lose a husband.

CORDELIA Peace be with Burgundy.

Since that respect and fortunes are his love,

I shall not be his wife.

FRANCE Fairest Cordelia, that art most rich being poor,

Most choice forsaken, and most loved despised,

Thee and thy virtues here I seize upon:

Be it lawful, I take up what's cast away. Takes her hand

Gods, gods! 'Tis strange that from their cold'st neglect

My love should kindle to inflamed respect.-

Thy dowerless daughter, king, thrown to my chance,

Is queen of us, of ours and our fair France:

Not all the dukes of wat'rish Burgundy

Can buy this unprized precious maid of me.-

Bid them farewell, Cordelia, though unkind.

Thou losest here, a better where to find.

LEAR Thou hast her, France: let her be thine, for we

Have no such daughter, nor shall ever see

That face of hers again. Therefore be gone

Without our grace, our love, our benison.

Come, noble Burgundy.

Flourish. Exeunt. [France and the sisters remain]

FRANCE Bid farewell to your sisters.

CORDELIA The jewels of our father, with washèd eyes

Cordelia leaves you. I know you what you are,

And like a sister am most loath to call

Your faults as they are named. Love well our father:

To your professèd bosoms I commit him,

But yet, alas, stood I within his grace,

I would prefer him to a better place.

So farewell to you both.

REGAN Prescribe not us our duty.

GONERIL Let your study

Be to content your lord who hath received you

At fortune's alms. You have obedience scanted,

And well are worth the want that you have wanted.

CORDELIA Time shall unfold what plighted cunning hides:

Who covers faults, at last with shame derides.

Well may you prosper.

FRANCE Come, my fair Cordelia. Exit France and Cordelia

GONERIL Sister, it is not little I have to say of what most nearly appertains to us both. I think our father will hence tonight.

REGAN That's most certain, and with you: next month with us.

REGAN 'Tis the infirmity of his age: yet he hath ever but slenderly known himself.

REGAN Such unconstant starts are we like to have from him as this of Kent's banishment.

REGAN We shall further think of it.

GONERIL We must do something, and i'th'heat. Exeunt

Act 1 Scene 2 running scene 2

Gr 5-9

Barbara A. Mowat is Director of Research emerita at the Folger Shakespeare Library, Consulting Editor of Shakespeare Quarterly, and author of The Dramaturgy of Shakespeare’s Romances and of essays on Shakespeare’s plays and their editing.

William Shakespeare was born in April 1564 in the town of Stratford-upon-Avon, on England’s Avon River. When he was eighteen, he married Anne Hathaway. The couple had three children—an older daughter Susanna and twins, Judith and Hamnet. Hamnet, Shakespeare’s only son, died in childhood. The bulk of Shakespeare’s working life was spent in the theater world of London, where he established himself professionally by the early 1590s. He enjoyed success not only as a playwright and poet, but also as an actor and shareholder in an acting company. Although some think that sometime between 1610 and 1613 Shakespeare retired from the theater and returned home to Stratford, where he died in 1616, others believe that he may have continued to work in London until close to his death.

Barbara A. Mowat is Director of Research emerita at the Folger Shakespeare Library, Consulting Editor of Shakespeare Quarterly, and author of The Dramaturgy of Shakespeare’s Romances and of essays on Shakespeare’s plays and their editing.

Paul Werstine is Professor of English at the Graduate School and at King’s University College at Western University. He is a general editor of the New Variorum Shakespeare and author of Early Modern Playhouse Manuscripts and the Editing of Shakespeare and of many papers and articles on the printing and editing of Shakespeare’s plays.\"},{\"id\":\"5146211T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"displayOrder\":\"3\",\"text\":\"William Shakespeare was an English poet and playwright, greatest writer in the world's pre-eminent dramatist.\"}]",{"_265":266,"_267":4629,"_254":5550},{"_265":266,"_267":306,"_254":4632},{"_265":266,"_267":4704,"_254":4901},{"_265":266,"_267":4707,"_254":5630},"336290",{"_265":266,"_267":302,"_254":4634},{"_265":266,"_267":4711,"_254":5633},"[\"Paperback\",\"Fiction\",\"Fiction Subjects\",\"Literary Styles & Movements - Fiction\",\"FICTION / Classics\",\"Literature\",\"Drama \",\"General & Miscellaneous Drama \",\"General & Miscellaneous Drama\",\"Kings and rulers->Drama \",\"English Drama\",\"English drama (Tragedy) \",\"Tragedy - 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by William Shakespeare

\"King Lear is a tragedy by William Shakespeare, considered one of his greatest works, and is based on the legend of King Leir of Britain. The part of Lear has been played by many great actors.

There are two distinct versions of the play: The True Chronicle of the History of the Life and Death of King Lear and His Three Daughters, which appeared in quarto in 1608, and The Tragedy of King Lear, which appeared in the First Folio in 1623, a more theatrical version. The two texts are commonly printed in a conflated version, although many modern editors have argued that each version has its individual integrity.

After the Restoration the play was often modified by theatre practitioners who disliked its nihilistic flavour, but since World War II it has come to be regarded as one of Shakespeare's supreme achievements. The tragedy is particularly noted for its probing observations on the nature of human suffering and kinship on a cosmic scale.\"

Other Titles of William Shakespeare Books

1. Alls Well That Ends Well
2. Antony and Cleopatra
3. As You Like It
4. Comedy of Errors
5. Coriolanus
6. Cymbeline
7. Hamlet
8. Julius Caeser
9. King Henry the Fourth Part I
10. King Henry the Eighth
11. King Henry the Fifth
12. King Henry the Fourth Part II
13. King Henry The Sixth Part I
14. King Henry The Sixth Part II
15. King Henry the Sixth Part III
16. King John
17. King Richard the Second
18. King Richard the Third
19. Loves Labour Lost
20. Macbeth
21. A Lovers Complaint
22. Measure for Measure
23. Merchant of Venice
24. Merry Wives of Windsor
25. Midsummers' Night Dream
26. Much Ado About Nothing
27. Othello
28. Pericles Prince of Tyre
29. Rape of Lucrece
30. Romeo and Juliet
31. Sonnets
32. Taming of the Shrew
33. Tempest
34. The Winter's Tale
35. Timon of Athens
36. Titus Andronicus
37. Troilus and Cressida
38. Twelfth Night
39. Two Gentlemen of Verona
40. Two Noble Kinsmen
41. Venus and Adonis

For additional information on publishing your books on iPhone and iPad please visit www.AppsPublisher.com","King Learby William Shakespeare\"King Lear is a tragedy by William Shakespeare, considered one of his greatest works, and is based on the legend of King Leir of Britain. The part of Lear has been played by many great actors.There are two distinct versions of the play: The True Chronicle of the History of the Life and Death of King Lear and His Three Daughters, which appeared in quarto in 1608, and The Tragedy of King Lear, which appeared in the First Folio in 1623, a more theatrical version. The two texts are commonly printed in a conflated version, although many modern editors have argued that each version has its individual integrity.After the Restoration the play was often modified by theatre practitioners who disliked its nihilistic flavour, but since World War II it has come to be regarded as one of Shakespeare's supreme achievements. The tragedy is particularly noted for its probing observations on the nature of human suffering and kinship on a cosmic scale.\"Other Titles of William Shakespeare Books 1. Alls Well That Ends Well 2. Antony and Cleopatra 3. As You Like It 4. Comedy of Errors 5. Coriolanus 6. Cymbeline 7. Hamlet 8. Julius Caeser 9. King Henry the Fourth Part I 10. King Henry the Eighth 11. King Henry the Fifth 12. King Henry the Fourth Part II 13. King Henry The Sixth Part I 14. King Henry The Sixth Part II 15. King Henry the Sixth Part III 16. King John 17. King Richard the Second 18. King Richard the Third 19. Loves Labour Lost 20. Macbeth 21. A Lovers Complaint 22. Measure for Measure 23. Merchant of Venice 24. Merry Wives of Windsor 25. Midsummers' Night Dream 26. Much Ado About Nothing 27. Othello 28. Pericles Prince of Tyre 29. Rape of Lucrece 30. Romeo and Juliet 31. Sonnets 32. Taming of the Shrew 33. Tempest 34. The Winter's Tale 35. Timon of Athens 36. Titus Andronicus 37. Troilus and Cressida 38. Twelfth Night 39. Two Gentlemen of Verona 40. Two Noble Kinsmen 41. Venus and AdonisFor additional information on publishing your books on iPhone and iPad please visit 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Chapter One

Act 1 Scene 1 running scene 1

Enter Kent, Gloucester and Edmund

KENT I thought the king had more affected the Duke of Albany than Cornwall.

KENT Is not this your son, my lord?

GLOUCESTER 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.

GLOUCESTER Sir, this young fellow's mother could; whereupon she grew round-wombed and had indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault?

KENT I cannot wish the fault undone, the issue of it being so proper.

EDMUND No, my lord.

GLOUCESTER My lord of Kent: remember him hereafter as my honourable friend.

EDMUND My services to your lordship.

KENT I must love you, and sue to know you better.

EDMUND Sir, I shall study deserving.

GLOUCESTER He hath been out nine years, and away he shall again. The king is coming.

Sennet. Enter [one bearing a coronet, then] King Lear, Cornwall, Albany, Goneril, Regan, Cordelia and Attendants

LEAR Attend the lords of France and Burgundy, Gloucester.

GLOUCESTER I shall, my lord. Exit

LEAR Meantime we shall express our darker purpose.

Give me the map there. Kent or an Attendant gives Lear a map

Know that we have divided

In three our kingdom, and 'tis our fast intent

To shake all cares and business from our age,

Conferring them on younger strengths while we

Unburdened crawl toward death. Our son of

Cornwall,

And you our no less loving son of Albany,

We have this hour a constant will to publish

Our daughters' several dowers, that future strife

May be prevented now. The princes, France and

Burgundy,

Great rivals in our youngest daughter's love,

Long in our court have made their amorous sojourn

And here are to be answered. Tell me, my

daughters -

Since now we will divest us both of rule,

Interest of territory, cares of state -

Which of you shall we say doth love us most,

That we our largest bounty may extend

Where nature doth with merit challenge? Goneril,

Our eldest born, speak first.

GONERIL Sir, I love you more than word can wield the matter,

Dearer than eyesight, space and liberty,

Beyond what can be valued rich or rare,

No less than life, with grace, health, beauty, honour:

As much as child e'er loved or father found:

A love that makes breath poor and speech unable:

Beyond all manner of so much I love you.

CORDELIA What shall Cordelia speak? Love and be silent. Aside

LEAR Of all these bounds, even from this line to this, Points With shadowy forests and with champaigns riched, to the map

With plenteous rivers and wide-skirted meads,

We make thee lady. To thine and Albany's issues

Be this perpetual.- What says our second daughter?

Our dearest Regan, wife of Cornwall?

REGAN I am made of that self-mettle as my sister,

And prize me at her worth. In my true heart,

I find she names my very deed of love:

Only she comes too short, that I profess

Myself an enemy to all other joys

Which the most precious square of sense professes,

And find I am alone felicitate

In your dear highness' love.

CORDELIA Then poor Cordelia: Aside

And yet not so, since I am sure my love's

More ponderous 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 conferred on Goneril.- Now, our joy, To Cordelia

Although our last and least, to whose young love

The vines of France and milk of Burgundy

Strive to be interessed, what can you say to draw

A third more opulent than your sisters'? Speak.

CORDELIA Nothing, my lord.

LEAR Nothing?

CORDELIA Nothing.

LEAR Nothing will come of nothing: speak again.

CORDELIA Unhappy that I am, I cannot heave

My heart into my mouth: I love your majesty

According to my bond, no more nor less.

LEAR How, how, Cordelia? Mend your speech a little,

Lest you may mar your fortunes.

CORDELIA Good my lord,

You have begot me, bred me, loved me:

I return those duties back as are right fit,

Obey you, love you and most honour you.

Why have my sisters husbands if they say

They love you all? Happily when I shall wed,

That lord whose hand must take my plight shall

carry

Half my love with him, half my care and duty:

Sure I shall never marry like my sisters.

LEAR But goes thy heart with this?

CORDELIA Ay, my good lord.

LEAR So young and so untender?

CORDELIA So young, my lord, and true.

LEAR Let it be so: thy truth then be thy dower,

For by the sacred radiance of the sun,

The mysteries of Hecate and the night,

By all the operation of the orbs

From whom we do exist and cease to be,

Here I disclaim all my paternal care,

Propinquity and property of blood,

And as a stranger to my heart and me

Hold thee from this for ever. The barbarous Scythian,

Or he that makes his generation messes

To gorge his appetite, shall to my bosom

Be as well neighboured, pitied and relieved

As thou my sometime daughter.

KENT Good my liege-

LEAR Peace, Kent:

Come not between the dragon and his wrath.

I loved her most, and thought to set my rest

On her kind nursery.- Hence, and avoid my sight!- To

So be my grave my peace, as here I give Cordelia

Her father's heart from her. Call France. Who stirs?

Call Burgundy.- Cornwall and Albany,

[Exit Attendant]

With my two daughters' dowers digest the third.

Let pride, which she calls plainness, marry her.

I do invest you jointly with my power,

Pre-eminence, and all the large effects

That troop with majesty. Ourself by monthly course,

With reservation of an hundred knights

By you to be sustained, shall our abode

Make with you by due turn: only we shall retain

The name and all th'addition to a king: the sway,

Revenue, execution of the rest,

Belovèd sons, be yours, which to confirm,

This coronet part between you. Gives them coronet to break in half

KENT Royal Lear,

Whom I have ever honoured as my king,

Loved as my father, as my master followed,

As my great patron thought on in my prayers-

LEAR The bow is bent and drawn, make from the shaft.

KENT Let it fall rather, though the fork invade

The region of my heart: be Kent unmannerly

When Lear is mad. What wouldst thou do, old man?

Think'st thou that duty shall have dread to speak

When power to flattery bows? To plainness honour's

bound

When majesty falls to folly. Reserve thy state,

And in thy best consideration check

This hideous rashness. Answer my life my

judgement:

Thy youngest daughter does not love thee least,

Nor are those empty-hearted whose low sounds

Reverb no hollowness.

LEAR Kent, on thy life, no more.

KENT My life I never held but as pawn

To wage against thine enemies, ne'er fear to lose it,

Thy safety being motive.

LEAR Out of my sight!

KENT See better, Lear, and let me still remain

The true blank of thine eye.

LEAR Now, by Apollo-

KENT Now, by Apollo, king,

Thou swear'st thy gods in vain.

LEAR O, vassal! Miscreant! Puts his hand on his sword or attacks Kent

ALBANY and CORDELIA Dear sir, forbear.

KENT Kill thy physician, and thy fee bestow

Upon the foul disease. Revoke thy gift,

Or whilst I can vent clamour from my throat,

I'll tell thee thou dost evil.

LEAR Hear me, recreant, on thine allegiance hear me!

That thou hast sought to make us break our vows,

Which we durst never yet, and with strained pride

To come betwixt our sentences and our power,

Which nor our nature nor our place can bear,

Our potency made good, take thy reward:

Five days we do allot thee for provision

To shield thee from disasters of the world,

And on the sixth to turn thy hated back

Upon our kingdom: if on the next day following

Thy banished trunk be found in our dominions,

The moment is thy death. Away! By Jupiter,

This shall not be revoked.

KENT Fare thee well, king: sith thus thou wilt appear,

Freedom lives hence and banishment is here.-

The gods to their dear shelter take thee, maid, To Cordelia

That justly think'st, and hast most rightly said.-

And your large speeches may your deeds approve, To Goneril

That good effects may spring from words of love. and Regan

Thus Kent, O princes, bids you all adieu.

He'll shape his old course in a country new. Exit

Flourish. Enter Gloucester with France and Burgundy, Attendants

CORDELIA Here's France and Burgundy, my noble lord.

LEAR My lord of Burgundy,

We first address toward you, who with this king

Hath rivalled for our daughter: what in the least

Will you require in present dower with her,

Or cease your quest of love?

BURGUNDY Most royal majesty,

I crave no more than hath your highness offered,

Nor will you tender less.

LEAR Right noble Burgundy,

When she was dear to us, we did hold her so,

But now her price is fallen. Sir, there she stands:

If aught within that little seeming substance,

Or all of it, with our displeasure pieced,

And nothing more, may fitly like your grace,

She's there, and she is yours.

BURGUNDY I know no answer.

LEAR Will you, with those infirmities she owes,

Unfriended, new-adopted to our hate,

Dowered with our curse and strangered with our

oath,

Take her or leave her?

BURGUNDY Pardon me, royal sir:

Election makes not up in such conditions.

LEAR Then leave her, sir, for by the power that made me,

I tell you all her wealth.- For you, great king, To France

I would not from your love make such a stray

To match you where I hate, therefore beseech you

T'avert your liking a more worthier way

Than on a wretch whom nature is ashamed

Almost t'acknowledge hers.

FRANCE This is most strange,

That she whom even but now was your object,

The argument of your praise, balm of your age,

The best, the dearest, should in this trice of time

Commit a thing so monstrous to dismantle

So many folds of favour. Sure her offence

Must be of such unnatural degree

That monsters it, or your fore-vouched affection

Fall into taint, which to believe of her

Must be a faith that reason without miracle

Should never plant in me.

CORDELIA I yet beseech your majesty -

If for I want that glib and oily art

To speak and purpose not, since what I will intend

I'll do't before I speak - that you make known

It is no vicious blot, murder, or foulness,

No unchaste action or dishonoured step

That hath deprived me of your grace and favour,

But even for want of that for which I am richer:

A still-soliciting eye and such a tongue

That I am glad I have not, though not to have it

Hath lost me in your liking.

LEAR Better thou hadst

Not been born than not t'have pleased me better.

FRANCE Is it but this? A tardiness in nature,

Which often leaves the history unspoke

That it intends to do? My lord of Burgundy,

What say you to the lady? Love's not love

When it is mingled with regards that stands

Aloof from th'entire point. Will you have her?

She is herself a dowry.

BURGUNDY Royal king, To Lear

Give but that portion which yourself proposed,

And here I take Cordelia by the hand,

Duchess of Burgundy.

LEAR Nothing: I have sworn: I am firm.

BURGUNDY I am sorry, then, you have so lost a father To Cordelia

That you must lose a husband.

CORDELIA Peace be with Burgundy.

Since that respect and fortunes are his love,

I shall not be his wife.

FRANCE Fairest Cordelia, that art most rich being poor,

Most choice forsaken, and most loved despised,

Thee and thy virtues here I seize upon:

Be it lawful, I take up what's cast away. Takes her hand

Gods, gods! 'Tis strange that from their cold'st neglect

My love should kindle to inflamed respect.-

Thy dowerless daughter, king, thrown to my chance,

Is queen of us, of ours and our fair France:

Not all the dukes of wat'rish Burgundy

Can buy this unprized precious maid of me.-

Bid them farewell, Cordelia, though unkind.

Thou losest here, a better where to find.

LEAR Thou hast her, France: let her be thine, for we

Have no such daughter, nor shall ever see

That face of hers again. Therefore be gone

Without our grace, our love, our benison.

Come, noble Burgundy.

Flourish. Exeunt. [France and the sisters remain]

FRANCE Bid farewell to your sisters.

CORDELIA The jewels of our father, with washèd eyes

Cordelia leaves you. I know you what you are,

And like a sister am most loath to call

Your faults as they are named. Love well our father:

To your professèd bosoms I commit him,

But yet, alas, stood I within his grace,

I would prefer him to a better place.

So farewell to you both.

REGAN Prescribe not us our duty.

GONERIL Let your study

Be to content your lord who hath received you

At fortune's alms. You have obedience scanted,

And well are worth the want that you have wanted.

CORDELIA Time shall unfold what plighted cunning hides:

Who covers faults, at last with shame derides.

Well may you prosper.

FRANCE Come, my fair Cordelia. Exit France and Cordelia

GONERIL Sister, it is not little I have to say of what most nearly appertains to us both. I think our father will hence tonight.

REGAN That's most certain, and with you: next month with us.

REGAN 'Tis the infirmity of his age: yet he hath ever but slenderly known himself.

REGAN Such unconstant starts are we like to have from him as this of Kent's banishment.

REGAN We shall further think of it.

GONERIL We must do something, and i'th'heat. Exeunt

Act 1 Scene 2 running scene 2

Gr 5-9

William Shakespeare (1564-1616) was born to John Shakespeare and mother Mary Arden some time in late April 1564 in Stratford-upon-Avon. He wrote about 38 plays (the precise number is uncertain), a collection of sonnets and a variety of other poems.

Stanley Wells is Emeritus Professor of the University of Birmingham and Chairman of the Shakespeare Birthplace Trust.

Kiernan Ryan is Professor of English at Royal Holloway, University of London, and a Fellow of New Hall, University of Cambridge. He is the author of Shakespeare (3rd edn, 2002) and the editor of King Lear: Contemporary Critical Essays (1992) and Shakespeare: The Last Plays (1999).

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Chapter One

Act 1 Scene 1 running scene 1

Enter Kent, Gloucester and Edmund

KENT I thought the king had more affected the Duke of Albany than Cornwall.

KENT Is not this your son, my lord?

GLOUCESTER 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.

GLOUCESTER Sir, this young fellow's mother could; whereupon she grew round-wombed and had indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault?

KENT I cannot wish the fault undone, the issue of it being so proper.

EDMUND No, my lord.

GLOUCESTER My lord of Kent: remember him hereafter as my honourable friend.

EDMUND My services to your lordship.

KENT I must love you, and sue to know you better.

EDMUND Sir, I shall study deserving.

GLOUCESTER He hath been out nine years, and away he shall again. The king is coming.

Sennet. Enter [one bearing a coronet, then] King Lear, Cornwall, Albany, Goneril, Regan, Cordelia and Attendants

LEAR Attend the lords of France and Burgundy, Gloucester.

GLOUCESTER I shall, my lord. Exit

LEAR Meantime we shall express our darker purpose.

Give me the map there. Kent or an Attendant gives Lear a map

Know that we have divided

In three our kingdom, and 'tis our fast intent

To shake all cares and business from our age,

Conferring them on younger strengths while we

Unburdened crawl toward death. Our son of

Cornwall,

And you our no less loving son of Albany,

We have this hour a constant will to publish

Our daughters' several dowers, that future strife

May be prevented now. The princes, France and

Burgundy,

Great rivals in our youngest daughter's love,

Long in our court have made their amorous sojourn

And here are to be answered. Tell me, my

daughters -

Since now we will divest us both of rule,

Interest of territory, cares of state -

Which of you shall we say doth love us most,

That we our largest bounty may extend

Where nature doth with merit challenge? Goneril,

Our eldest born, speak first.

GONERIL Sir, I love you more than word can wield the matter,

Dearer than eyesight, space and liberty,

Beyond what can be valued rich or rare,

No less than life, with grace, health, beauty, honour:

As much as child e'er loved or father found:

A love that makes breath poor and speech unable:

Beyond all manner of so much I love you.

CORDELIA What shall Cordelia speak? Love and be silent. Aside

LEAR Of all these bounds, even from this line to this, Points With shadowy forests and with champaigns riched, to the map

With plenteous rivers and wide-skirted meads,

We make thee lady. To thine and Albany's issues

Be this perpetual.- What says our second daughter?

Our dearest Regan, wife of Cornwall?

REGAN I am made of that self-mettle as my sister,

And prize me at her worth. In my true heart,

I find she names my very deed of love:

Only she comes too short, that I profess

Myself an enemy to all other joys

Which the most precious square of sense professes,

And find I am alone felicitate

In your dear highness' love.

CORDELIA Then poor Cordelia: Aside

And yet not so, since I am sure my love's

More ponderous 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 conferred on Goneril.- Now, our joy, To Cordelia

Although our last and least, to whose young love

The vines of France and milk of Burgundy

Strive to be interessed, what can you say to draw

A third more opulent than your sisters'? Speak.

CORDELIA Nothing, my lord.

LEAR Nothing?

CORDELIA Nothing.

LEAR Nothing will come of nothing: speak again.

CORDELIA Unhappy that I am, I cannot heave

My heart into my mouth: I love your majesty

According to my bond, no more nor less.

LEAR How, how, Cordelia? Mend your speech a little,

Lest you may mar your fortunes.

CORDELIA Good my lord,

You have begot me, bred me, loved me:

I return those duties back as are right fit,

Obey you, love you and most honour you.

Why have my sisters husbands if they say

They love you all? Happily when I shall wed,

That lord whose hand must take my plight shall

carry

Half my love with him, half my care and duty:

Sure I shall never marry like my sisters.

LEAR But goes thy heart with this?

CORDELIA Ay, my good lord.

LEAR So young and so untender?

CORDELIA So young, my lord, and true.

LEAR Let it be so: thy truth then be thy dower,

For by the sacred radiance of the sun,

The mysteries of Hecate and the night,

By all the operation of the orbs

From whom we do exist and cease to be,

Here I disclaim all my paternal care,

Propinquity and property of blood,

And as a stranger to my heart and me

Hold thee from this for ever. The barbarous Scythian,

Or he that makes his generation messes

To gorge his appetite, shall to my bosom

Be as well neighboured, pitied and relieved

As thou my sometime daughter.

KENT Good my liege-

LEAR Peace, Kent:

Come not between the dragon and his wrath.

I loved her most, and thought to set my rest

On her kind nursery.- Hence, and avoid my sight!- To

So be my grave my peace, as here I give Cordelia

Her father's heart from her. Call France. Who stirs?

Call Burgundy.- Cornwall and Albany,

[Exit Attendant]

With my two daughters' dowers digest the third.

Let pride, which she calls plainness, marry her.

I do invest you jointly with my power,

Pre-eminence, and all the large effects

That troop with majesty. Ourself by monthly course,

With reservation of an hundred knights

By you to be sustained, shall our abode

Make with you by due turn: only we shall retain

The name and all th'addition to a king: the sway,

Revenue, execution of the rest,

Belovèd sons, be yours, which to confirm,

This coronet part between you. Gives them coronet to break in half

KENT Royal Lear,

Whom I have ever honoured as my king,

Loved as my father, as my master followed,

As my great patron thought on in my prayers-

LEAR The bow is bent and drawn, make from the shaft.

KENT Let it fall rather, though the fork invade

The region of my heart: be Kent unmannerly

When Lear is mad. What wouldst thou do, old man?

Think'st thou that duty shall have dread to speak

When power to flattery bows? To plainness honour's

bound

When majesty falls to folly. Reserve thy state,

And in thy best consideration check

This hideous rashness. Answer my life my

judgement:

Thy youngest daughter does not love thee least,

Nor are those empty-hearted whose low sounds

Reverb no hollowness.

LEAR Kent, on thy life, no more.

KENT My life I never held but as pawn

To wage against thine enemies, ne'er fear to lose it,

Thy safety being motive.

LEAR Out of my sight!

KENT See better, Lear, and let me still remain

The true blank of thine eye.

LEAR Now, by Apollo-

KENT Now, by Apollo, king,

Thou swear'st thy gods in vain.

LEAR O, vassal! Miscreant! Puts his hand on his sword or attacks Kent

ALBANY and CORDELIA Dear sir, forbear.

KENT Kill thy physician, and thy fee bestow

Upon the foul disease. Revoke thy gift,

Or whilst I can vent clamour from my throat,

I'll tell thee thou dost evil.

LEAR Hear me, recreant, on thine allegiance hear me!

That thou hast sought to make us break our vows,

Which we durst never yet, and with strained pride

To come betwixt our sentences and our power,

Which nor our nature nor our place can bear,

Our potency made good, take thy reward:

Five days we do allot thee for provision

To shield thee from disasters of the world,

And on the sixth to turn thy hated back

Upon our kingdom: if on the next day following

Thy banished trunk be found in our dominions,

The moment is thy death. Away! By Jupiter,

This shall not be revoked.

KENT Fare thee well, king: sith thus thou wilt appear,

Freedom lives hence and banishment is here.-

The gods to their dear shelter take thee, maid, To Cordelia

That justly think'st, and hast most rightly said.-

And your large speeches may your deeds approve, To Goneril

That good effects may spring from words of love. and Regan

Thus Kent, O princes, bids you all adieu.

He'll shape his old course in a country new. Exit

Flourish. Enter Gloucester with France and Burgundy, Attendants

CORDELIA Here's France and Burgundy, my noble lord.

LEAR My lord of Burgundy,

We first address toward you, who with this king

Hath rivalled for our daughter: what in the least

Will you require in present dower with her,

Or cease your quest of love?

BURGUNDY Most royal majesty,

I crave no more than hath your highness offered,

Nor will you tender less.

LEAR Right noble Burgundy,

When she was dear to us, we did hold her so,

But now her price is fallen. Sir, there she stands:

If aught within that little seeming substance,

Or all of it, with our displeasure pieced,

And nothing more, may fitly like your grace,

She's there, and she is yours.

BURGUNDY I know no answer.

LEAR Will you, with those infirmities she owes,

Unfriended, new-adopted to our hate,

Dowered with our curse and strangered with our

oath,

Take her or leave her?

BURGUNDY Pardon me, royal sir:

Election makes not up in such conditions.

LEAR Then leave her, sir, for by the power that made me,

I tell you all her wealth.- For you, great king, To France

I would not from your love make such a stray

To match you where I hate, therefore beseech you

T'avert your liking a more worthier way

Than on a wretch whom nature is ashamed

Almost t'acknowledge hers.

FRANCE This is most strange,

That she whom even but now was your object,

The argument of your praise, balm of your age,

The best, the dearest, should in this trice of time

Commit a thing so monstrous to dismantle

So many folds of favour. Sure her offence

Must be of such unnatural degree

That monsters it, or your fore-vouched affection

Fall into taint, which to believe of her

Must be a faith that reason without miracle

Should never plant in me.

CORDELIA I yet beseech your majesty -

If for I want that glib and oily art

To speak and purpose not, since what I will intend

I'll do't before I speak - that you make known

It is no vicious blot, murder, or foulness,

No unchaste action or dishonoured step

That hath deprived me of your grace and favour,

But even for want of that for which I am richer:

A still-soliciting eye and such a tongue

That I am glad I have not, though not to have it

Hath lost me in your liking.

LEAR Better thou hadst

Not been born than not t'have pleased me better.

FRANCE Is it but this? A tardiness in nature,

Which often leaves the history unspoke

That it intends to do? My lord of Burgundy,

What say you to the lady? Love's not love

When it is mingled with regards that stands

Aloof from th'entire point. Will you have her?

She is herself a dowry.

BURGUNDY Royal king, To Lear

Give but that portion which yourself proposed,

And here I take Cordelia by the hand,

Duchess of Burgundy.

LEAR Nothing: I have sworn: I am firm.

BURGUNDY I am sorry, then, you have so lost a father To Cordelia

That you must lose a husband.

CORDELIA Peace be with Burgundy.

Since that respect and fortunes are his love,

I shall not be his wife.

FRANCE Fairest Cordelia, that art most rich being poor,

Most choice forsaken, and most loved despised,

Thee and thy virtues here I seize upon:

Be it lawful, I take up what's cast away. Takes her hand

Gods, gods! 'Tis strange that from their cold'st neglect

My love should kindle to inflamed respect.-

Thy dowerless daughter, king, thrown to my chance,

Is queen of us, of ours and our fair France:

Not all the dukes of wat'rish Burgundy

Can buy this unprized precious maid of me.-

Bid them farewell, Cordelia, though unkind.

Thou losest here, a better where to find.

LEAR Thou hast her, France: let her be thine, for we

Have no such daughter, nor shall ever see

That face of hers again. Therefore be gone

Without our grace, our love, our benison.

Come, noble Burgundy.

Flourish. Exeunt. [France and the sisters remain]

FRANCE Bid farewell to your sisters.

CORDELIA The jewels of our father, with washèd eyes

Cordelia leaves you. I know you what you are,

And like a sister am most loath to call

Your faults as they are named. Love well our father:

To your professèd bosoms I commit him,

But yet, alas, stood I within his grace,

I would prefer him to a better place.

So farewell to you both.

REGAN Prescribe not us our duty.

GONERIL Let your study

Be to content your lord who hath received you

At fortune's alms. You have obedience scanted,

And well are worth the want that you have wanted.

CORDELIA Time shall unfold what plighted cunning hides:

Who covers faults, at last with shame derides.

Well may you prosper.

FRANCE Come, my fair Cordelia. Exit France and Cordelia

GONERIL Sister, it is not little I have to say of what most nearly appertains to us both. I think our father will hence tonight.

REGAN That's most certain, and with you: next month with us.

REGAN 'Tis the infirmity of his age: yet he hath ever but slenderly known himself.

REGAN Such unconstant starts are we like to have from him as this of Kent's banishment.

REGAN We shall further think of it.

GONERIL We must do something, and i'th'heat. Exeunt

Act 1 Scene 2 running scene 2

Gr 5-9

Paul Scofield has made a distinguished contribution to film, stage and television with a series of hallmark performances over some six decades. These include his original appearances as King Lear in Peter Brook's production in the 1960s which toured widely, was filmed and recorded.

Chapter One

Act 1 Scene 1 running scene 1

Enter Kent, Gloucester and Edmund

KENT I thought the king had more affected the Duke of Albany than Cornwall.

KENT Is not this your son, my lord?

GLOUCESTER 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.

GLOUCESTER Sir, this young fellow's mother could; whereupon she grew round-wombed and had indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault?

KENT I cannot wish the fault undone, the issue of it being so proper.

EDMUND No, my lord.

GLOUCESTER My lord of Kent: remember him hereafter as my honourable friend.

EDMUND My services to your lordship.

KENT I must love you, and sue to know you better.

EDMUND Sir, I shall study deserving.

GLOUCESTER He hath been out nine years, and away he shall again. The king is coming.

Sennet. Enter [one bearing a coronet, then] King Lear, Cornwall, Albany, Goneril, Regan, Cordelia and Attendants

LEAR Attend the lords of France and Burgundy, Gloucester.

GLOUCESTER I shall, my lord. Exit

LEAR Meantime we shall express our darker purpose.

Give me the map there. Kent or an Attendant gives Lear a map

Know that we have divided

In three our kingdom, and 'tis our fast intent

To shake all cares and business from our age,

Conferring them on younger strengths while we

Unburdened crawl toward death. Our son of

Cornwall,

And you our no less loving son of Albany,

We have this hour a constant will to publish

Our daughters' several dowers, that future strife

May be prevented now. The princes, France and

Burgundy,

Great rivals in our youngest daughter's love,

Long in our court have made their amorous sojourn

And here are to be answered. Tell me, my

daughters -

Since now we will divest us both of rule,

Interest of territory, cares of state -

Which of you shall we say doth love us most,

That we our largest bounty may extend

Where nature doth with merit challenge? Goneril,

Our eldest born, speak first.

GONERIL Sir, I love you more than word can wield the matter,

Dearer than eyesight, space and liberty,

Beyond what can be valued rich or rare,

No less than life, with grace, health, beauty, honour:

As much as child e'er loved or father found:

A love that makes breath poor and speech unable:

Beyond all manner of so much I love you.

CORDELIA What shall Cordelia speak? Love and be silent. Aside

LEAR Of all these bounds, even from this line to this, Points With shadowy forests and with champaigns riched, to the map

With plenteous rivers and wide-skirted meads,

We make thee lady. To thine and Albany's issues

Be this perpetual.- What says our second daughter?

Our dearest Regan, wife of Cornwall?

REGAN I am made of that self-mettle as my sister,

And prize me at her worth. In my true heart,

I find she names my very deed of love:

Only she comes too short, that I profess

Myself an enemy to all other joys

Which the most precious square of sense professes,

And find I am alone felicitate

In your dear highness' love.

CORDELIA Then poor Cordelia: Aside

And yet not so, since I am sure my love's

More ponderous 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 conferred on Goneril.- Now, our joy, To Cordelia

Although our last and least, to whose young love

The vines of France and milk of Burgundy

Strive to be interessed, what can you say to draw

A third more opulent than your sisters'? Speak.

CORDELIA Nothing, my lord.

LEAR Nothing?

CORDELIA Nothing.

LEAR Nothing will come of nothing: speak again.

CORDELIA Unhappy that I am, I cannot heave

My heart into my mouth: I love your majesty

According to my bond, no more nor less.

LEAR How, how, Cordelia? Mend your speech a little,

Lest you may mar your fortunes.

CORDELIA Good my lord,

You have begot me, bred me, loved me:

I return those duties back as are right fit,

Obey you, love you and most honour you.

Why have my sisters husbands if they say

They love you all? Happily when I shall wed,

That lord whose hand must take my plight shall

carry

Half my love with him, half my care and duty:

Sure I shall never marry like my sisters.

LEAR But goes thy heart with this?

CORDELIA Ay, my good lord.

LEAR So young and so untender?

CORDELIA So young, my lord, and true.

LEAR Let it be so: thy truth then be thy dower,

For by the sacred radiance of the sun,

The mysteries of Hecate and the night,

By all the operation of the orbs

From whom we do exist and cease to be,

Here I disclaim all my paternal care,

Propinquity and property of blood,

And as a stranger to my heart and me

Hold thee from this for ever. The barbarous Scythian,

Or he that makes his generation messes

To gorge his appetite, shall to my bosom

Be as well neighboured, pitied and relieved

As thou my sometime daughter.

KENT Good my liege-

LEAR Peace, Kent:

Come not between the dragon and his wrath.

I loved her most, and thought to set my rest

On her kind nursery.- Hence, and avoid my sight!- To

So be my grave my peace, as here I give Cordelia

Her father's heart from her. Call France. Who stirs?

Call Burgundy.- Cornwall and Albany,

[Exit Attendant]

With my two daughters' dowers digest the third.

Let pride, which she calls plainness, marry her.

I do invest you jointly with my power,

Pre-eminence, and all the large effects

That troop with majesty. Ourself by monthly course,

With reservation of an hundred knights

By you to be sustained, shall our abode

Make with you by due turn: only we shall retain

The name and all th'addition to a king: the sway,

Revenue, execution of the rest,

Belovèd sons, be yours, which to confirm,

This coronet part between you. Gives them coronet to break in half

KENT Royal Lear,

Whom I have ever honoured as my king,

Loved as my father, as my master followed,

As my great patron thought on in my prayers-

LEAR The bow is bent and drawn, make from the shaft.

KENT Let it fall rather, though the fork invade

The region of my heart: be Kent unmannerly

When Lear is mad. What wouldst thou do, old man?

Think'st thou that duty shall have dread to speak

When power to flattery bows? To plainness honour's

bound

When majesty falls to folly. Reserve thy state,

And in thy best consideration check

This hideous rashness. Answer my life my

judgement:

Thy youngest daughter does not love thee least,

Nor are those empty-hearted whose low sounds

Reverb no hollowness.

LEAR Kent, on thy life, no more.

KENT My life I never held but as pawn

To wage against thine enemies, ne'er fear to lose it,

Thy safety being motive.

LEAR Out of my sight!

KENT See better, Lear, and let me still remain

The true blank of thine eye.

LEAR Now, by Apollo-

KENT Now, by Apollo, king,

Thou swear'st thy gods in vain.

LEAR O, vassal! Miscreant! Puts his hand on his sword or attacks Kent

ALBANY and CORDELIA Dear sir, forbear.

KENT Kill thy physician, and thy fee bestow

Upon the foul disease. Revoke thy gift,

Or whilst I can vent clamour from my throat,

I'll tell thee thou dost evil.

LEAR Hear me, recreant, on thine allegiance hear me!

That thou hast sought to make us break our vows,

Which we durst never yet, and with strained pride

To come betwixt our sentences and our power,

Which nor our nature nor our place can bear,

Our potency made good, take thy reward:

Five days we do allot thee for provision

To shield thee from disasters of the world,

And on the sixth to turn thy hated back

Upon our kingdom: if on the next day following

Thy banished trunk be found in our dominions,

The moment is thy death. Away! By Jupiter,

This shall not be revoked.

KENT Fare thee well, king: sith thus thou wilt appear,

Freedom lives hence and banishment is here.-

The gods to their dear shelter take thee, maid, To Cordelia

That justly think'st, and hast most rightly said.-

And your large speeches may your deeds approve, To Goneril

That good effects may spring from words of love. and Regan

Thus Kent, O princes, bids you all adieu.

He'll shape his old course in a country new. Exit

Flourish. Enter Gloucester with France and Burgundy, Attendants

CORDELIA Here's France and Burgundy, my noble lord.

LEAR My lord of Burgundy,

We first address toward you, who with this king

Hath rivalled for our daughter: what in the least

Will you require in present dower with her,

Or cease your quest of love?

BURGUNDY Most royal majesty,

I crave no more than hath your highness offered,

Nor will you tender less.

LEAR Right noble Burgundy,

When she was dear to us, we did hold her so,

But now her price is fallen. Sir, there she stands:

If aught within that little seeming substance,

Or all of it, with our displeasure pieced,

And nothing more, may fitly like your grace,

She's there, and she is yours.

BURGUNDY I know no answer.

LEAR Will you, with those infirmities she owes,

Unfriended, new-adopted to our hate,

Dowered with our curse and strangered with our

oath,

Take her or leave her?

BURGUNDY Pardon me, royal sir:

Election makes not up in such conditions.

LEAR Then leave her, sir, for by the power that made me,

I tell you all her wealth.- For you, great king, To France

I would not from your love make such a stray

To match you where I hate, therefore beseech you

T'avert your liking a more worthier way

Than on a wretch whom nature is ashamed

Almost t'acknowledge hers.

FRANCE This is most strange,

That she whom even but now was your object,

The argument of your praise, balm of your age,

The best, the dearest, should in this trice of time

Commit a thing so monstrous to dismantle

So many folds of favour. Sure her offence

Must be of such unnatural degree

That monsters it, or your fore-vouched affection

Fall into taint, which to believe of her

Must be a faith that reason without miracle

Should never plant in me.

CORDELIA I yet beseech your majesty -

If for I want that glib and oily art

To speak and purpose not, since what I will intend

I'll do't before I speak - that you make known

It is no vicious blot, murder, or foulness,

No unchaste action or dishonoured step

That hath deprived me of your grace and favour,

But even for want of that for which I am richer:

A still-soliciting eye and such a tongue

That I am glad I have not, though not to have it

Hath lost me in your liking.

LEAR Better thou hadst

Not been born than not t'have pleased me better.

FRANCE Is it but this? A tardiness in nature,

Which often leaves the history unspoke

That it intends to do? My lord of Burgundy,

What say you to the lady? Love's not love

When it is mingled with regards that stands

Aloof from th'entire point. Will you have her?

She is herself a dowry.

BURGUNDY Royal king, To Lear

Give but that portion which yourself proposed,

And here I take Cordelia by the hand,

Duchess of Burgundy.

LEAR Nothing: I have sworn: I am firm.

BURGUNDY I am sorry, then, you have so lost a father To Cordelia

That you must lose a husband.

CORDELIA Peace be with Burgundy.

Since that respect and fortunes are his love,

I shall not be his wife.

FRANCE Fairest Cordelia, that art most rich being poor,

Most choice forsaken, and most loved despised,

Thee and thy virtues here I seize upon:

Be it lawful, I take up what's cast away. Takes her hand

Gods, gods! 'Tis strange that from their cold'st neglect

My love should kindle to inflamed respect.-

Thy dowerless daughter, king, thrown to my chance,

Is queen of us, of ours and our fair France:

Not all the dukes of wat'rish Burgundy

Can buy this unprized precious maid of me.-

Bid them farewell, Cordelia, though unkind.

Thou losest here, a better where to find.

LEAR Thou hast her, France: let her be thine, for we

Have no such daughter, nor shall ever see

That face of hers again. Therefore be gone

Without our grace, our love, our benison.

Come, noble Burgundy.

Flourish. Exeunt. [France and the sisters remain]

FRANCE Bid farewell to your sisters.

CORDELIA The jewels of our father, with washèd eyes

Cordelia leaves you. I know you what you are,

And like a sister am most loath to call

Your faults as they are named. Love well our father:

To your professèd bosoms I commit him,

But yet, alas, stood I within his grace,

I would prefer him to a better place.

So farewell to you both.

REGAN Prescribe not us our duty.

GONERIL Let your study

Be to content your lord who hath received you

At fortune's alms. You have obedience scanted,

And well are worth the want that you have wanted.

CORDELIA Time shall unfold what plighted cunning hides:

Who covers faults, at last with shame derides.

Well may you prosper.

FRANCE Come, my fair Cordelia. Exit France and Cordelia

GONERIL Sister, it is not little I have to say of what most nearly appertains to us both. I think our father will hence tonight.

REGAN That's most certain, and with you: next month with us.

REGAN 'Tis the infirmity of his age: yet he hath ever but slenderly known himself.

REGAN Such unconstant starts are we like to have from him as this of Kent's banishment.

REGAN We shall further think of it.

GONERIL We must do something, and i'th'heat. Exeunt

Act 1 Scene 2 running scene 2

Gr 5-9

Chapter One

Act 1 Scene 1 running scene 1

Enter Kent, Gloucester and Edmund

KENT I thought the king had more affected the Duke of Albany than Cornwall.

KENT Is not this your son, my lord?

GLOUCESTER 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.

GLOUCESTER Sir, this young fellow's mother could; whereupon she grew round-wombed and had indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault?

KENT I cannot wish the fault undone, the issue of it being so proper.

EDMUND No, my lord.

GLOUCESTER My lord of Kent: remember him hereafter as my honourable friend.

EDMUND My services to your lordship.

KENT I must love you, and sue to know you better.

EDMUND Sir, I shall study deserving.

GLOUCESTER He hath been out nine years, and away he shall again. The king is coming.

Sennet. Enter [one bearing a coronet, then] King Lear, Cornwall, Albany, Goneril, Regan, Cordelia and Attendants

LEAR Attend the lords of France and Burgundy, Gloucester.

GLOUCESTER I shall, my lord. Exit

LEAR Meantime we shall express our darker purpose.

Give me the map there. Kent or an Attendant gives Lear a map

Know that we have divided

In three our kingdom, and 'tis our fast intent

To shake all cares and business from our age,

Conferring them on younger strengths while we

Unburdened crawl toward death. Our son of

Cornwall,

And you our no less loving son of Albany,

We have this hour a constant will to publish

Our daughters' several dowers, that future strife

May be prevented now. The princes, France and

Burgundy,

Great rivals in our youngest daughter's love,

Long in our court have made their amorous sojourn

And here are to be answered. Tell me, my

daughters -

Since now we will divest us both of rule,

Interest of territory, cares of state -

Which of you shall we say doth love us most,

That we our largest bounty may extend

Where nature doth with merit challenge? Goneril,

Our eldest born, speak first.

GONERIL Sir, I love you more than word can wield the matter,

Dearer than eyesight, space and liberty,

Beyond what can be valued rich or rare,

No less than life, with grace, health, beauty, honour:

As much as child e'er loved or father found:

A love that makes breath poor and speech unable:

Beyond all manner of so much I love you.

CORDELIA What shall Cordelia speak? Love and be silent. Aside

LEAR Of all these bounds, even from this line to this, Points With shadowy forests and with champaigns riched, to the map

With plenteous rivers and wide-skirted meads,

We make thee lady. To thine and Albany's issues

Be this perpetual.- What says our second daughter?

Our dearest Regan, wife of Cornwall?

REGAN I am made of that self-mettle as my sister,

And prize me at her worth. In my true heart,

I find she names my very deed of love:

Only she comes too short, that I profess

Myself an enemy to all other joys

Which the most precious square of sense professes,

And find I am alone felicitate

In your dear highness' love.

CORDELIA Then poor Cordelia: Aside

And yet not so, since I am sure my love's

More ponderous 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 conferred on Goneril.- Now, our joy, To Cordelia

Although our last and least, to whose young love

The vines of France and milk of Burgundy

Strive to be interessed, what can you say to draw

A third more opulent than your sisters'? Speak.

CORDELIA Nothing, my lord.

LEAR Nothing?

CORDELIA Nothing.

LEAR Nothing will come of nothing: speak again.

CORDELIA Unhappy that I am, I cannot heave

My heart into my mouth: I love your majesty

According to my bond, no more nor less.

LEAR How, how, Cordelia? Mend your speech a little,

Lest you may mar your fortunes.

CORDELIA Good my lord,

You have begot me, bred me, loved me:

I return those duties back as are right fit,

Obey you, love you and most honour you.

Why have my sisters husbands if they say

They love you all? Happily when I shall wed,

That lord whose hand must take my plight shall

carry

Half my love with him, half my care and duty:

Sure I shall never marry like my sisters.

LEAR But goes thy heart with this?

CORDELIA Ay, my good lord.

LEAR So young and so untender?

CORDELIA So young, my lord, and true.

LEAR Let it be so: thy truth then be thy dower,

For by the sacred radiance of the sun,

The mysteries of Hecate and the night,

By all the operation of the orbs

From whom we do exist and cease to be,

Here I disclaim all my paternal care,

Propinquity and property of blood,

And as a stranger to my heart and me

Hold thee from this for ever. The barbarous Scythian,

Or he that makes his generation messes

To gorge his appetite, shall to my bosom

Be as well neighboured, pitied and relieved

As thou my sometime daughter.

KENT Good my liege-

LEAR Peace, Kent:

Come not between the dragon and his wrath.

I loved her most, and thought to set my rest

On her kind nursery.- Hence, and avoid my sight!- To

So be my grave my peace, as here I give Cordelia

Her father's heart from her. Call France. Who stirs?

Call Burgundy.- Cornwall and Albany,

[Exit Attendant]

With my two daughters' dowers digest the third.

Let pride, which she calls plainness, marry her.

I do invest you jointly with my power,

Pre-eminence, and all the large effects

That troop with majesty. Ourself by monthly course,

With reservation of an hundred knights

By you to be sustained, shall our abode

Make with you by due turn: only we shall retain

The name and all th'addition to a king: the sway,

Revenue, execution of the rest,

Belovèd sons, be yours, which to confirm,

This coronet part between you. Gives them coronet to break in half

KENT Royal Lear,

Whom I have ever honoured as my king,

Loved as my father, as my master followed,

As my great patron thought on in my prayers-

LEAR The bow is bent and drawn, make from the shaft.

KENT Let it fall rather, though the fork invade

The region of my heart: be Kent unmannerly

When Lear is mad. What wouldst thou do, old man?

Think'st thou that duty shall have dread to speak

When power to flattery bows? To plainness honour's

bound

When majesty falls to folly. Reserve thy state,

And in thy best consideration check

This hideous rashness. Answer my life my

judgement:

Thy youngest daughter does not love thee least,

Nor are those empty-hearted whose low sounds

Reverb no hollowness.

LEAR Kent, on thy life, no more.

KENT My life I never held but as pawn

To wage against thine enemies, ne'er fear to lose it,

Thy safety being motive.

LEAR Out of my sight!

KENT See better, Lear, and let me still remain

The true blank of thine eye.

LEAR Now, by Apollo-

KENT Now, by Apollo, king,

Thou swear'st thy gods in vain.

LEAR O, vassal! Miscreant! Puts his hand on his sword or attacks Kent

ALBANY and CORDELIA Dear sir, forbear.

KENT Kill thy physician, and thy fee bestow

Upon the foul disease. Revoke thy gift,

Or whilst I can vent clamour from my throat,

I'll tell thee thou dost evil.

LEAR Hear me, recreant, on thine allegiance hear me!

That thou hast sought to make us break our vows,

Which we durst never yet, and with strained pride

To come betwixt our sentences and our power,

Which nor our nature nor our place can bear,

Our potency made good, take thy reward:

Five days we do allot thee for provision

To shield thee from disasters of the world,

And on the sixth to turn thy hated back

Upon our kingdom: if on the next day following

Thy banished trunk be found in our dominions,

The moment is thy death. Away! By Jupiter,

This shall not be revoked.

KENT Fare thee well, king: sith thus thou wilt appear,

Freedom lives hence and banishment is here.-

The gods to their dear shelter take thee, maid, To Cordelia

That justly think'st, and hast most rightly said.-

And your large speeches may your deeds approve, To Goneril

That good effects may spring from words of love. and Regan

Thus Kent, O princes, bids you all adieu.

He'll shape his old course in a country new. Exit

Flourish. Enter Gloucester with France and Burgundy, Attendants

CORDELIA Here's France and Burgundy, my noble lord.

LEAR My lord of Burgundy,

We first address toward you, who with this king

Hath rivalled for our daughter: what in the least

Will you require in present dower with her,

Or cease your quest of love?

BURGUNDY Most royal majesty,

I crave no more than hath your highness offered,

Nor will you tender less.

LEAR Right noble Burgundy,

When she was dear to us, we did hold her so,

But now her price is fallen. Sir, there she stands:

If aught within that little seeming substance,

Or all of it, with our displeasure pieced,

And nothing more, may fitly like your grace,

She's there, and she is yours.

BURGUNDY I know no answer.

LEAR Will you, with those infirmities she owes,

Unfriended, new-adopted to our hate,

Dowered with our curse and strangered with our

oath,

Take her or leave her?

BURGUNDY Pardon me, royal sir:

Election makes not up in such conditions.

LEAR Then leave her, sir, for by the power that made me,

I tell you all her wealth.- For you, great king, To France

I would not from your love make such a stray

To match you where I hate, therefore beseech you

T'avert your liking a more worthier way

Than on a wretch whom nature is ashamed

Almost t'acknowledge hers.

FRANCE This is most strange,

That she whom even but now was your object,

The argument of your praise, balm of your age,

The best, the dearest, should in this trice of time

Commit a thing so monstrous to dismantle

So many folds of favour. Sure her offence

Must be of such unnatural degree

That monsters it, or your fore-vouched affection

Fall into taint, which to believe of her

Must be a faith that reason without miracle

Should never plant in me.

CORDELIA I yet beseech your majesty -

If for I want that glib and oily art

To speak and purpose not, since what I will intend

I'll do't before I speak - that you make known

It is no vicious blot, murder, or foulness,

No unchaste action or dishonoured step

That hath deprived me of your grace and favour,

But even for want of that for which I am richer:

A still-soliciting eye and such a tongue

That I am glad I have not, though not to have it

Hath lost me in your liking.

LEAR Better thou hadst

Not been born than not t'have pleased me better.

FRANCE Is it but this? A tardiness in nature,

Which often leaves the history unspoke

That it intends to do? My lord of Burgundy,

What say you to the lady? Love's not love

When it is mingled with regards that stands

Aloof from th'entire point. Will you have her?

She is herself a dowry.

BURGUNDY Royal king, To Lear

Give but that portion which yourself proposed,

And here I take Cordelia by the hand,

Duchess of Burgundy.

LEAR Nothing: I have sworn: I am firm.

BURGUNDY I am sorry, then, you have so lost a father To Cordelia

That you must lose a husband.

CORDELIA Peace be with Burgundy.

Since that respect and fortunes are his love,

I shall not be his wife.

FRANCE Fairest Cordelia, that art most rich being poor,

Most choice forsaken, and most loved despised,

Thee and thy virtues here I seize upon:

Be it lawful, I take up what's cast away. Takes her hand

Gods, gods! 'Tis strange that from their cold'st neglect

My love should kindle to inflamed respect.-

Thy dowerless daughter, king, thrown to my chance,

Is queen of us, of ours and our fair France:

Not all the dukes of wat'rish Burgundy

Can buy this unprized precious maid of me.-

Bid them farewell, Cordelia, though unkind.

Thou losest here, a better where to find.

LEAR Thou hast her, France: let her be thine, for we

Have no such daughter, nor shall ever see

That face of hers again. Therefore be gone

Without our grace, our love, our benison.

Come, noble Burgundy.

Flourish. Exeunt. [France and the sisters remain]

FRANCE Bid farewell to your sisters.

CORDELIA The jewels of our father, with washèd eyes

Cordelia leaves you. I know you what you are,

And like a sister am most loath to call

Your faults as they are named. Love well our father:

To your professèd bosoms I commit him,

But yet, alas, stood I within his grace,

I would prefer him to a better place.

So farewell to you both.

REGAN Prescribe not us our duty.

GONERIL Let your study

Be to content your lord who hath received you

At fortune's alms. You have obedience scanted,

And well are worth the want that you have wanted.

CORDELIA Time shall unfold what plighted cunning hides:

Who covers faults, at last with shame derides.

Well may you prosper.

FRANCE Come, my fair Cordelia. Exit France and Cordelia

GONERIL Sister, it is not little I have to say of what most nearly appertains to us both. I think our father will hence tonight.

REGAN That's most certain, and with you: next month with us.

REGAN 'Tis the infirmity of his age: yet he hath ever but slenderly known himself.

REGAN Such unconstant starts are we like to have from him as this of Kent's banishment.

REGAN We shall further think of it.

GONERIL We must do something, and i'th'heat. Exeunt

Act 1 Scene 2 running scene 2

Gr 5-9

Chapter One

Act 1 Scene 1 running scene 1

Enter Kent, Gloucester and Edmund

KENT I thought the king had more affected the Duke of Albany than Cornwall.

KENT Is not this your son, my lord?

GLOUCESTER 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.

GLOUCESTER Sir, this young fellow's mother could; whereupon she grew round-wombed and had indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault?

KENT I cannot wish the fault undone, the issue of it being so proper.

EDMUND No, my lord.

GLOUCESTER My lord of Kent: remember him hereafter as my honourable friend.

EDMUND My services to your lordship.

KENT I must love you, and sue to know you better.

EDMUND Sir, I shall study deserving.

GLOUCESTER He hath been out nine years, and away he shall again. The king is coming.

Sennet. Enter [one bearing a coronet, then] King Lear, Cornwall, Albany, Goneril, Regan, Cordelia and Attendants

LEAR Attend the lords of France and Burgundy, Gloucester.

GLOUCESTER I shall, my lord. Exit

LEAR Meantime we shall express our darker purpose.

Give me the map there. Kent or an Attendant gives Lear a map

Know that we have divided

In three our kingdom, and 'tis our fast intent

To shake all cares and business from our age,

Conferring them on younger strengths while we

Unburdened crawl toward death. Our son of

Cornwall,

And you our no less loving son of Albany,

We have this hour a constant will to publish

Our daughters' several dowers, that future strife

May be prevented now. The princes, France and

Burgundy,

Great rivals in our youngest daughter's love,

Long in our court have made their amorous sojourn

And here are to be answered. Tell me, my

daughters -

Since now we will divest us both of rule,

Interest of territory, cares of state -

Which of you shall we say doth love us most,

That we our largest bounty may extend

Where nature doth with merit challenge? Goneril,

Our eldest born, speak first.

GONERIL Sir, I love you more than word can wield the matter,

Dearer than eyesight, space and liberty,

Beyond what can be valued rich or rare,

No less than life, with grace, health, beauty, honour:

As much as child e'er loved or father found:

A love that makes breath poor and speech unable:

Beyond all manner of so much I love you.

CORDELIA What shall Cordelia speak? Love and be silent. Aside

LEAR Of all these bounds, even from this line to this, Points With shadowy forests and with champaigns riched, to the map

With plenteous rivers and wide-skirted meads,

We make thee lady. To thine and Albany's issues

Be this perpetual.- What says our second daughter?

Our dearest Regan, wife of Cornwall?

REGAN I am made of that self-mettle as my sister,

And prize me at her worth. In my true heart,

I find she names my very deed of love:

Only she comes too short, that I profess

Myself an enemy to all other joys

Which the most precious square of sense professes,

And find I am alone felicitate

In your dear highness' love.

CORDELIA Then poor Cordelia: Aside

And yet not so, since I am sure my love's

More ponderous 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 conferred on Goneril.- Now, our joy, To Cordelia

Although our last and least, to whose young love

The vines of France and milk of Burgundy

Strive to be interessed, what can you say to draw

A third more opulent than your sisters'? Speak.

CORDELIA Nothing, my lord.

LEAR Nothing?

CORDELIA Nothing.

LEAR Nothing will come of nothing: speak again.

CORDELIA Unhappy that I am, I cannot heave

My heart into my mouth: I love your majesty

According to my bond, no more nor less.

LEAR How, how, Cordelia? Mend your speech a little,

Lest you may mar your fortunes.

CORDELIA Good my lord,

You have begot me, bred me, loved me:

I return those duties back as are right fit,

Obey you, love you and most honour you.

Why have my sisters husbands if they say

They love you all? Happily when I shall wed,

That lord whose hand must take my plight shall

carry

Half my love with him, half my care and duty:

Sure I shall never marry like my sisters.

LEAR But goes thy heart with this?

CORDELIA Ay, my good lord.

LEAR So young and so untender?

CORDELIA So young, my lord, and true.

LEAR Let it be so: thy truth then be thy dower,

For by the sacred radiance of the sun,

The mysteries of Hecate and the night,

By all the operation of the orbs

From whom we do exist and cease to be,

Here I disclaim all my paternal care,

Propinquity and property of blood,

And as a stranger to my heart and me

Hold thee from this for ever. The barbarous Scythian,

Or he that makes his generation messes

To gorge his appetite, shall to my bosom

Be as well neighboured, pitied and relieved

As thou my sometime daughter.

KENT Good my liege-

LEAR Peace, Kent:

Come not between the dragon and his wrath.

I loved her most, and thought to set my rest

On her kind nursery.- Hence, and avoid my sight!- To

So be my grave my peace, as here I give Cordelia

Her father's heart from her. Call France. Who stirs?

Call Burgundy.- Cornwall and Albany,

[Exit Attendant]

With my two daughters' dowers digest the third.

Let pride, which she calls plainness, marry her.

I do invest you jointly with my power,

Pre-eminence, and all the large effects

That troop with majesty. Ourself by monthly course,

With reservation of an hundred knights

By you to be sustained, shall our abode

Make with you by due turn: only we shall retain

The name and all th'addition to a king: the sway,

Revenue, execution of the rest,

Belovèd sons, be yours, which to confirm,

This coronet part between you. Gives them coronet to break in half

KENT Royal Lear,

Whom I have ever honoured as my king,

Loved as my father, as my master followed,

As my great patron thought on in my prayers-

LEAR The bow is bent and drawn, make from the shaft.

KENT Let it fall rather, though the fork invade

The region of my heart: be Kent unmannerly

When Lear is mad. What wouldst thou do, old man?

Think'st thou that duty shall have dread to speak

When power to flattery bows? To plainness honour's

bound

When majesty falls to folly. Reserve thy state,

And in thy best consideration check

This hideous rashness. Answer my life my

judgement:

Thy youngest daughter does not love thee least,

Nor are those empty-hearted whose low sounds

Reverb no hollowness.

LEAR Kent, on thy life, no more.

KENT My life I never held but as pawn

To wage against thine enemies, ne'er fear to lose it,

Thy safety being motive.

LEAR Out of my sight!

KENT See better, Lear, and let me still remain

The true blank of thine eye.

LEAR Now, by Apollo-

KENT Now, by Apollo, king,

Thou swear'st thy gods in vain.

LEAR O, vassal! Miscreant! Puts his hand on his sword or attacks Kent

ALBANY and CORDELIA Dear sir, forbear.

KENT Kill thy physician, and thy fee bestow

Upon the foul disease. Revoke thy gift,

Or whilst I can vent clamour from my throat,

I'll tell thee thou dost evil.

LEAR Hear me, recreant, on thine allegiance hear me!

That thou hast sought to make us break our vows,

Which we durst never yet, and with strained pride

To come betwixt our sentences and our power,

Which nor our nature nor our place can bear,

Our potency made good, take thy reward:

Five days we do allot thee for provision

To shield thee from disasters of the world,

And on the sixth to turn thy hated back

Upon our kingdom: if on the next day following

Thy banished trunk be found in our dominions,

The moment is thy death. Away! By Jupiter,

This shall not be revoked.

KENT Fare thee well, king: sith thus thou wilt appear,

Freedom lives hence and banishment is here.-

The gods to their dear shelter take thee, maid, To Cordelia

That justly think'st, and hast most rightly said.-

And your large speeches may your deeds approve, To Goneril

That good effects may spring from words of love. and Regan

Thus Kent, O princes, bids you all adieu.

He'll shape his old course in a country new. Exit

Flourish. Enter Gloucester with France and Burgundy, Attendants

CORDELIA Here's France and Burgundy, my noble lord.

LEAR My lord of Burgundy,

We first address toward you, who with this king

Hath rivalled for our daughter: what in the least

Will you require in present dower with her,

Or cease your quest of love?

BURGUNDY Most royal majesty,

I crave no more than hath your highness offered,

Nor will you tender less.

LEAR Right noble Burgundy,

When she was dear to us, we did hold her so,

But now her price is fallen. Sir, there she stands:

If aught within that little seeming substance,

Or all of it, with our displeasure pieced,

And nothing more, may fitly like your grace,

She's there, and she is yours.

BURGUNDY I know no answer.

LEAR Will you, with those infirmities she owes,

Unfriended, new-adopted to our hate,

Dowered with our curse and strangered with our

oath,

Take her or leave her?

BURGUNDY Pardon me, royal sir:

Election makes not up in such conditions.

LEAR Then leave her, sir, for by the power that made me,

I tell you all her wealth.- For you, great king, To France

I would not from your love make such a stray

To match you where I hate, therefore beseech you

T'avert your liking a more worthier way

Than on a wretch whom nature is ashamed

Almost t'acknowledge hers.

FRANCE This is most strange,

That she whom even but now was your object,

The argument of your praise, balm of your age,

The best, the dearest, should in this trice of time

Commit a thing so monstrous to dismantle

So many folds of favour. Sure her offence

Must be of such unnatural degree

That monsters it, or your fore-vouched affection

Fall into taint, which to believe of her

Must be a faith that reason without miracle

Should never plant in me.

CORDELIA I yet beseech your majesty -

If for I want that glib and oily art

To speak and purpose not, since what I will intend

I'll do't before I speak - that you make known

It is no vicious blot, murder, or foulness,

No unchaste action or dishonoured step

That hath deprived me of your grace and favour,

But even for want of that for which I am richer:

A still-soliciting eye and such a tongue

That I am glad I have not, though not to have it

Hath lost me in your liking.

LEAR Better thou hadst

Not been born than not t'have pleased me better.

FRANCE Is it but this? A tardiness in nature,

Which often leaves the history unspoke

That it intends to do? My lord of Burgundy,

What say you to the lady? Love's not love

When it is mingled with regards that stands

Aloof from th'entire point. Will you have her?

She is herself a dowry.

BURGUNDY Royal king, To Lear

Give but that portion which yourself proposed,

And here I take Cordelia by the hand,

Duchess of Burgundy.

LEAR Nothing: I have sworn: I am firm.

BURGUNDY I am sorry, then, you have so lost a father To Cordelia

That you must lose a husband.

CORDELIA Peace be with Burgundy.

Since that respect and fortunes are his love,

I shall not be his wife.

FRANCE Fairest Cordelia, that art most rich being poor,

Most choice forsaken, and most loved despised,

Thee and thy virtues here I seize upon:

Be it lawful, I take up what's cast away. Takes her hand

Gods, gods! 'Tis strange that from their cold'st neglect

My love should kindle to inflamed respect.-

Thy dowerless daughter, king, thrown to my chance,

Is queen of us, of ours and our fair France:

Not all the dukes of wat'rish Burgundy

Can buy this unprized precious maid of me.-

Bid them farewell, Cordelia, though unkind.

Thou losest here, a better where to find.

LEAR Thou hast her, France: let her be thine, for we

Have no such daughter, nor shall ever see

That face of hers again. Therefore be gone

Without our grace, our love, our benison.

Come, noble Burgundy.

Flourish. Exeunt. [France and the sisters remain]

FRANCE Bid farewell to your sisters.

CORDELIA The jewels of our father, with washèd eyes

Cordelia leaves you. I know you what you are,

And like a sister am most loath to call

Your faults as they are named. Love well our father:

To your professèd bosoms I commit him,

But yet, alas, stood I within his grace,

I would prefer him to a better place.

So farewell to you both.

REGAN Prescribe not us our duty.

GONERIL Let your study

Be to content your lord who hath received you

At fortune's alms. You have obedience scanted,

And well are worth the want that you have wanted.

CORDELIA Time shall unfold what plighted cunning hides:

Who covers faults, at last with shame derides.

Well may you prosper.

FRANCE Come, my fair Cordelia. Exit France and Cordelia

GONERIL Sister, it is not little I have to say of what most nearly appertains to us both. I think our father will hence tonight.

REGAN That's most certain, and with you: next month with us.

REGAN 'Tis the infirmity of his age: yet he hath ever but slenderly known himself.

REGAN Such unconstant starts are we like to have from him as this of Kent's banishment.

REGAN We shall further think of it.

GONERIL We must do something, and i'th'heat. Exeunt

Act 1 Scene 2 running scene 2

Gr 5-9

Chapter One

Act 1 Scene 1 running scene 1

Enter Kent, Gloucester and Edmund

KENT I thought the king had more affected the Duke of Albany than Cornwall.

KENT Is not this your son, my lord?

GLOUCESTER 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.

GLOUCESTER Sir, this young fellow's mother could; whereupon she grew round-wombed and had indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault?

KENT I cannot wish the fault undone, the issue of it being so proper.

EDMUND No, my lord.

GLOUCESTER My lord of Kent: remember him hereafter as my honourable friend.

EDMUND My services to your lordship.

KENT I must love you, and sue to know you better.

EDMUND Sir, I shall study deserving.

GLOUCESTER He hath been out nine years, and away he shall again. The king is coming.

Sennet. Enter [one bearing a coronet, then] King Lear, Cornwall, Albany, Goneril, Regan, Cordelia and Attendants

LEAR Attend the lords of France and Burgundy, Gloucester.

GLOUCESTER I shall, my lord. Exit

LEAR Meantime we shall express our darker purpose.

Give me the map there. Kent or an Attendant gives Lear a map

Know that we have divided

In three our kingdom, and 'tis our fast intent

To shake all cares and business from our age,

Conferring them on younger strengths while we

Unburdened crawl toward death. Our son of

Cornwall,

And you our no less loving son of Albany,

We have this hour a constant will to publish

Our daughters' several dowers, that future strife

May be prevented now. The princes, France and

Burgundy,

Great rivals in our youngest daughter's love,

Long in our court have made their amorous sojourn

And here are to be answered. Tell me, my

daughters -

Since now we will divest us both of rule,

Interest of territory, cares of state -

Which of you shall we say doth love us most,

That we our largest bounty may extend

Where nature doth with merit challenge? Goneril,

Our eldest born, speak first.

GONERIL Sir, I love you more than word can wield the matter,

Dearer than eyesight, space and liberty,

Beyond what can be valued rich or rare,

No less than life, with grace, health, beauty, honour:

As much as child e'er loved or father found:

A love that makes breath poor and speech unable:

Beyond all manner of so much I love you.

CORDELIA What shall Cordelia speak? Love and be silent. Aside

LEAR Of all these bounds, even from this line to this, Points With shadowy forests and with champaigns riched, to the map

With plenteous rivers and wide-skirted meads,

We make thee lady. To thine and Albany's issues

Be this perpetual.- What says our second daughter?

Our dearest Regan, wife of Cornwall?

REGAN I am made of that self-mettle as my sister,

And prize me at her worth. In my true heart,

I find she names my very deed of love:

Only she comes too short, that I profess

Myself an enemy to all other joys

Which the most precious square of sense professes,

And find I am alone felicitate

In your dear highness' love.

CORDELIA Then poor Cordelia: Aside

And yet not so, since I am sure my love's

More ponderous 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 conferred on Goneril.- Now, our joy, To Cordelia

Although our last and least, to whose young love

The vines of France and milk of Burgundy

Strive to be interessed, what can you say to draw

A third more opulent than your sisters'? Speak.

CORDELIA Nothing, my lord.

LEAR Nothing?

CORDELIA Nothing.

LEAR Nothing will come of nothing: speak again.

CORDELIA Unhappy that I am, I cannot heave

My heart into my mouth: I love your majesty

According to my bond, no more nor less.

LEAR How, how, Cordelia? Mend your speech a little,

Lest you may mar your fortunes.

CORDELIA Good my lord,

You have begot me, bred me, loved me:

I return those duties back as are right fit,

Obey you, love you and most honour you.

Why have my sisters husbands if they say

They love you all? Happily when I shall wed,

That lord whose hand must take my plight shall

carry

Half my love with him, half my care and duty:

Sure I shall never marry like my sisters.

LEAR But goes thy heart with this?

CORDELIA Ay, my good lord.

LEAR So young and so untender?

CORDELIA So young, my lord, and true.

LEAR Let it be so: thy truth then be thy dower,

For by the sacred radiance of the sun,

The mysteries of Hecate and the night,

By all the operation of the orbs

From whom we do exist and cease to be,

Here I disclaim all my paternal care,

Propinquity and property of blood,

And as a stranger to my heart and me

Hold thee from this for ever. The barbarous Scythian,

Or he that makes his generation messes

To gorge his appetite, shall to my bosom

Be as well neighboured, pitied and relieved

As thou my sometime daughter.

KENT Good my liege-

LEAR Peace, Kent:

Come not between the dragon and his wrath.

I loved her most, and thought to set my rest

On her kind nursery.- Hence, and avoid my sight!- To

So be my grave my peace, as here I give Cordelia

Her father's heart from her. Call France. Who stirs?

Call Burgundy.- Cornwall and Albany,

[Exit Attendant]

With my two daughters' dowers digest the third.

Let pride, which she calls plainness, marry her.

I do invest you jointly with my power,

Pre-eminence, and all the large effects

That troop with majesty. Ourself by monthly course,

With reservation of an hundred knights

By you to be sustained, shall our abode

Make with you by due turn: only we shall retain

The name and all th'addition to a king: the sway,

Revenue, execution of the rest,

Belovèd sons, be yours, which to confirm,

This coronet part between you. Gives them coronet to break in half

KENT Royal Lear,

Whom I have ever honoured as my king,

Loved as my father, as my master followed,

As my great patron thought on in my prayers-

LEAR The bow is bent and drawn, make from the shaft.

KENT Let it fall rather, though the fork invade

The region of my heart: be Kent unmannerly

When Lear is mad. What wouldst thou do, old man?

Think'st thou that duty shall have dread to speak

When power to flattery bows? To plainness honour's

bound

When majesty falls to folly. Reserve thy state,

And in thy best consideration check

This hideous rashness. Answer my life my

judgement:

Thy youngest daughter does not love thee least,

Nor are those empty-hearted whose low sounds

Reverb no hollowness.

LEAR Kent, on thy life, no more.

KENT My life I never held but as pawn

To wage against thine enemies, ne'er fear to lose it,

Thy safety being motive.

LEAR Out of my sight!

KENT See better, Lear, and let me still remain

The true blank of thine eye.

LEAR Now, by Apollo-

KENT Now, by Apollo, king,

Thou swear'st thy gods in vain.

LEAR O, vassal! Miscreant! Puts his hand on his sword or attacks Kent

ALBANY and CORDELIA Dear sir, forbear.

KENT Kill thy physician, and thy fee bestow

Upon the foul disease. Revoke thy gift,

Or whilst I can vent clamour from my throat,

I'll tell thee thou dost evil.

LEAR Hear me, recreant, on thine allegiance hear me!

That thou hast sought to make us break our vows,

Which we durst never yet, and with strained pride

To come betwixt our sentences and our power,

Which nor our nature nor our place can bear,

Our potency made good, take thy reward:

Five days we do allot thee for provision

To shield thee from disasters of the world,

And on the sixth to turn thy hated back

Upon our kingdom: if on the next day following

Thy banished trunk be found in our dominions,

The moment is thy death. Away! By Jupiter,

This shall not be revoked.

KENT Fare thee well, king: sith thus thou wilt appear,

Freedom lives hence and banishment is here.-

The gods to their dear shelter take thee, maid, To Cordelia

That justly think'st, and hast most rightly said.-

And your large speeches may your deeds approve, To Goneril

That good effects may spring from words of love. and Regan

Thus Kent, O princes, bids you all adieu.

He'll shape his old course in a country new. Exit

Flourish. Enter Gloucester with France and Burgundy, Attendants

CORDELIA Here's France and Burgundy, my noble lord.

LEAR My lord of Burgundy,

We first address toward you, who with this king

Hath rivalled for our daughter: what in the least

Will you require in present dower with her,

Or cease your quest of love?

BURGUNDY Most royal majesty,

I crave no more than hath your highness offered,

Nor will you tender less.

LEAR Right noble Burgundy,

When she was dear to us, we did hold her so,

But now her price is fallen. Sir, there she stands:

If aught within that little seeming substance,

Or all of it, with our displeasure pieced,

And nothing more, may fitly like your grace,

She's there, and she is yours.

BURGUNDY I know no answer.

LEAR Will you, with those infirmities she owes,

Unfriended, new-adopted to our hate,

Dowered with our curse and strangered with our

oath,

Take her or leave her?

BURGUNDY Pardon me, royal sir:

Election makes not up in such conditions.

LEAR Then leave her, sir, for by the power that made me,

I tell you all her wealth.- For you, great king, To France

I would not from your love make such a stray

To match you where I hate, therefore beseech you

T'avert your liking a more worthier way

Than on a wretch whom nature is ashamed

Almost t'acknowledge hers.

FRANCE This is most strange,

That she whom even but now was your object,

The argument of your praise, balm of your age,

The best, the dearest, should in this trice of time

Commit a thing so monstrous to dismantle

So many folds of favour. Sure her offence

Must be of such unnatural degree

That monsters it, or your fore-vouched affection

Fall into taint, which to believe of her

Must be a faith that reason without miracle

Should never plant in me.

CORDELIA I yet beseech your majesty -

If for I want that glib and oily art

To speak and purpose not, since what I will intend

I'll do't before I speak - that you make known

It is no vicious blot, murder, or foulness,

No unchaste action or dishonoured step

That hath deprived me of your grace and favour,

But even for want of that for which I am richer:

A still-soliciting eye and such a tongue

That I am glad I have not, though not to have it

Hath lost me in your liking.

LEAR Better thou hadst

Not been born than not t'have pleased me better.

FRANCE Is it but this? A tardiness in nature,

Which often leaves the history unspoke

That it intends to do? My lord of Burgundy,

What say you to the lady? Love's not love

When it is mingled with regards that stands

Aloof from th'entire point. Will you have her?

She is herself a dowry.

BURGUNDY Royal king, To Lear

Give but that portion which yourself proposed,

And here I take Cordelia by the hand,

Duchess of Burgundy.

LEAR Nothing: I have sworn: I am firm.

BURGUNDY I am sorry, then, you have so lost a father To Cordelia

That you must lose a husband.

CORDELIA Peace be with Burgundy.

Since that respect and fortunes are his love,

I shall not be his wife.

FRANCE Fairest Cordelia, that art most rich being poor,

Most choice forsaken, and most loved despised,

Thee and thy virtues here I seize upon:

Be it lawful, I take up what's cast away. Takes her hand

Gods, gods! 'Tis strange that from their cold'st neglect

My love should kindle to inflamed respect.-

Thy dowerless daughter, king, thrown to my chance,

Is queen of us, of ours and our fair France:

Not all the dukes of wat'rish Burgundy

Can buy this unprized precious maid of me.-

Bid them farewell, Cordelia, though unkind.

Thou losest here, a better where to find.

LEAR Thou hast her, France: let her be thine, for we

Have no such daughter, nor shall ever see

That face of hers again. Therefore be gone

Without our grace, our love, our benison.

Come, noble Burgundy.

Flourish. Exeunt. [France and the sisters remain]

FRANCE Bid farewell to your sisters.

CORDELIA The jewels of our father, with washèd eyes

Cordelia leaves you. I know you what you are,

And like a sister am most loath to call

Your faults as they are named. Love well our father:

To your professèd bosoms I commit him,

But yet, alas, stood I within his grace,

I would prefer him to a better place.

So farewell to you both.

REGAN Prescribe not us our duty.

GONERIL Let your study

Be to content your lord who hath received you

At fortune's alms. You have obedience scanted,

And well are worth the want that you have wanted.

CORDELIA Time shall unfold what plighted cunning hides:

Who covers faults, at last with shame derides.

Well may you prosper.

FRANCE Come, my fair Cordelia. Exit France and Cordelia

GONERIL Sister, it is not little I have to say of what most nearly appertains to us both. I think our father will hence tonight.

REGAN That's most certain, and with you: next month with us.

REGAN 'Tis the infirmity of his age: yet he hath ever but slenderly known himself.

REGAN Such unconstant starts are we like to have from him as this of Kent's banishment.

REGAN We shall further think of it.

GONERIL We must do something, and i'th'heat. Exeunt

Act 1 Scene 2 running scene 2

Gr 5-9

Chapter One

Act 1 Scene 1 running scene 1

Enter Kent, Gloucester and Edmund

KENT I thought the king had more affected the Duke of Albany than Cornwall.

KENT Is not this your son, my lord?

GLOUCESTER 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.

GLOUCESTER Sir, this young fellow's mother could; whereupon she grew round-wombed and had indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault?

KENT I cannot wish the fault undone, the issue of it being so proper.

EDMUND No, my lord.

GLOUCESTER My lord of Kent: remember him hereafter as my honourable friend.

EDMUND My services to your lordship.

KENT I must love you, and sue to know you better.

EDMUND Sir, I shall study deserving.

GLOUCESTER He hath been out nine years, and away he shall again. The king is coming.

Sennet. Enter [one bearing a coronet, then] King Lear, Cornwall, Albany, Goneril, Regan, Cordelia and Attendants

LEAR Attend the lords of France and Burgundy, Gloucester.

GLOUCESTER I shall, my lord. Exit

LEAR Meantime we shall express our darker purpose.

Give me the map there. Kent or an Attendant gives Lear a map

Know that we have divided

In three our kingdom, and 'tis our fast intent

To shake all cares and business from our age,

Conferring them on younger strengths while we

Unburdened crawl toward death. Our son of

Cornwall,

And you our no less loving son of Albany,

We have this hour a constant will to publish

Our daughters' several dowers, that future strife

May be prevented now. The princes, France and

Burgundy,

Great rivals in our youngest daughter's love,

Long in our court have made their amorous sojourn

And here are to be answered. Tell me, my

daughters -

Since now we will divest us both of rule,

Interest of territory, cares of state -

Which of you shall we say doth love us most,

That we our largest bounty may extend

Where nature doth with merit challenge? Goneril,

Our eldest born, speak first.

GONERIL Sir, I love you more than word can wield the matter,

Dearer than eyesight, space and liberty,

Beyond what can be valued rich or rare,

No less than life, with grace, health, beauty, honour:

As much as child e'er loved or father found:

A love that makes breath poor and speech unable:

Beyond all manner of so much I love you.

CORDELIA What shall Cordelia speak? Love and be silent. Aside

LEAR Of all these bounds, even from this line to this, Points With shadowy forests and with champaigns riched, to the map

With plenteous rivers and wide-skirted meads,

We make thee lady. To thine and Albany's issues

Be this perpetual.- What says our second daughter?

Our dearest Regan, wife of Cornwall?

REGAN I am made of that self-mettle as my sister,

And prize me at her worth. In my true heart,

I find she names my very deed of love:

Only she comes too short, that I profess

Myself an enemy to all other joys

Which the most precious square of sense professes,

And find I am alone felicitate

In your dear highness' love.

CORDELIA Then poor Cordelia: Aside

And yet not so, since I am sure my love's

More ponderous 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 conferred on Goneril.- Now, our joy, To Cordelia

Although our last and least, to whose young love

The vines of France and milk of Burgundy

Strive to be interessed, what can you say to draw

A third more opulent than your sisters'? Speak.

CORDELIA Nothing, my lord.

LEAR Nothing?

CORDELIA Nothing.

LEAR Nothing will come of nothing: speak again.

CORDELIA Unhappy that I am, I cannot heave

My heart into my mouth: I love your majesty

According to my bond, no more nor less.

LEAR How, how, Cordelia? Mend your speech a little,

Lest you may mar your fortunes.

CORDELIA Good my lord,

You have begot me, bred me, loved me:

I return those duties back as are right fit,

Obey you, love you and most honour you.

Why have my sisters husbands if they say

They love you all? Happily when I shall wed,

That lord whose hand must take my plight shall

carry

Half my love with him, half my care and duty:

Sure I shall never marry like my sisters.

LEAR But goes thy heart with this?

CORDELIA Ay, my good lord.

LEAR So young and so untender?

CORDELIA So young, my lord, and true.

LEAR Let it be so: thy truth then be thy dower,

For by the sacred radiance of the sun,

The mysteries of Hecate and the night,

By all the operation of the orbs

From whom we do exist and cease to be,

Here I disclaim all my paternal care,

Propinquity and property of blood,

And as a stranger to my heart and me

Hold thee from this for ever. The barbarous Scythian,

Or he that makes his generation messes

To gorge his appetite, shall to my bosom

Be as well neighboured, pitied and relieved

As thou my sometime daughter.

KENT Good my liege-

LEAR Peace, Kent:

Come not between the dragon and his wrath.

I loved her most, and thought to set my rest

On her kind nursery.- Hence, and avoid my sight!- To

So be my grave my peace, as here I give Cordelia

Her father's heart from her. Call France. Who stirs?

Call Burgundy.- Cornwall and Albany,

[Exit Attendant]

With my two daughters' dowers digest the third.

Let pride, which she calls plainness, marry her.

I do invest you jointly with my power,

Pre-eminence, and all the large effects

That troop with majesty. Ourself by monthly course,

With reservation of an hundred knights

By you to be sustained, shall our abode

Make with you by due turn: only we shall retain

The name and all th'addition to a king: the sway,

Revenue, execution of the rest,

Belovèd sons, be yours, which to confirm,

This coronet part between you. Gives them coronet to break in half

KENT Royal Lear,

Whom I have ever honoured as my king,

Loved as my father, as my master followed,

As my great patron thought on in my prayers-

LEAR The bow is bent and drawn, make from the shaft.

KENT Let it fall rather, though the fork invade

The region of my heart: be Kent unmannerly

When Lear is mad. What wouldst thou do, old man?

Think'st thou that duty shall have dread to speak

When power to flattery bows? To plainness honour's

bound

When majesty falls to folly. Reserve thy state,

And in thy best consideration check

This hideous rashness. Answer my life my

judgement:

Thy youngest daughter does not love thee least,

Nor are those empty-hearted whose low sounds

Reverb no hollowness.

LEAR Kent, on thy life, no more.

KENT My life I never held but as pawn

To wage against thine enemies, ne'er fear to lose it,

Thy safety being motive.

LEAR Out of my sight!

KENT See better, Lear, and let me still remain

The true blank of thine eye.

LEAR Now, by Apollo-

KENT Now, by Apollo, king,

Thou swear'st thy gods in vain.

LEAR O, vassal! Miscreant! Puts his hand on his sword or attacks Kent

ALBANY and CORDELIA Dear sir, forbear.

KENT Kill thy physician, and thy fee bestow

Upon the foul disease. Revoke thy gift,

Or whilst I can vent clamour from my throat,

I'll tell thee thou dost evil.

LEAR Hear me, recreant, on thine allegiance hear me!

That thou hast sought to make us break our vows,

Which we durst never yet, and with strained pride

To come betwixt our sentences and our power,

Which nor our nature nor our place can bear,

Our potency made good, take thy reward:

Five days we do allot thee for provision

To shield thee from disasters of the world,

And on the sixth to turn thy hated back

Upon our kingdom: if on the next day following

Thy banished trunk be found in our dominions,

The moment is thy death. Away! By Jupiter,

This shall not be revoked.

KENT Fare thee well, king: sith thus thou wilt appear,

Freedom lives hence and banishment is here.-

The gods to their dear shelter take thee, maid, To Cordelia

That justly think'st, and hast most rightly said.-

And your large speeches may your deeds approve, To Goneril

That good effects may spring from words of love. and Regan

Thus Kent, O princes, bids you all adieu.

He'll shape his old course in a country new. Exit

Flourish. Enter Gloucester with France and Burgundy, Attendants

CORDELIA Here's France and Burgundy, my noble lord.

LEAR My lord of Burgundy,

We first address toward you, who with this king

Hath rivalled for our daughter: what in the least

Will you require in present dower with her,

Or cease your quest of love?

BURGUNDY Most royal majesty,

I crave no more than hath your highness offered,

Nor will you tender less.

LEAR Right noble Burgundy,

When she was dear to us, we did hold her so,

But now her price is fallen. Sir, there she stands:

If aught within that little seeming substance,

Or all of it, with our displeasure pieced,

And nothing more, may fitly like your grace,

She's there, and she is yours.

BURGUNDY I know no answer.

LEAR Will you, with those infirmities she owes,

Unfriended, new-adopted to our hate,

Dowered with our curse and strangered with our

oath,

Take her or leave her?

BURGUNDY Pardon me, royal sir:

Election makes not up in such conditions.

LEAR Then leave her, sir, for by the power that made me,

I tell you all her wealth.- For you, great king, To France

I would not from your love make such a stray

To match you where I hate, therefore beseech you

T'avert your liking a more worthier way

Than on a wretch whom nature is ashamed

Almost t'acknowledge hers.

FRANCE This is most strange,

That she whom even but now was your object,

The argument of your praise, balm of your age,

The best, the dearest, should in this trice of time

Commit a thing so monstrous to dismantle

So many folds of favour. Sure her offence

Must be of such unnatural degree

That monsters it, or your fore-vouched affection

Fall into taint, which to believe of her

Must be a faith that reason without miracle

Should never plant in me.

CORDELIA I yet beseech your majesty -

If for I want that glib and oily art

To speak and purpose not, since what I will intend

I'll do't before I speak - that you make known

It is no vicious blot, murder, or foulness,

No unchaste action or dishonoured step

That hath deprived me of your grace and favour,

But even for want of that for which I am richer:

A still-soliciting eye and such a tongue

That I am glad I have not, though not to have it

Hath lost me in your liking.

LEAR Better thou hadst

Not been born than not t'have pleased me better.

FRANCE Is it but this? A tardiness in nature,

Which often leaves the history unspoke

That it intends to do? My lord of Burgundy,

What say you to the lady? Love's not love

When it is mingled with regards that stands

Aloof from th'entire point. Will you have her?

She is herself a dowry.

BURGUNDY Royal king, To Lear

Give but that portion which yourself proposed,

And here I take Cordelia by the hand,

Duchess of Burgundy.

LEAR Nothing: I have sworn: I am firm.

BURGUNDY I am sorry, then, you have so lost a father To Cordelia

That you must lose a husband.

CORDELIA Peace be with Burgundy.

Since that respect and fortunes are his love,

I shall not be his wife.

FRANCE Fairest Cordelia, that art most rich being poor,

Most choice forsaken, and most loved despised,

Thee and thy virtues here I seize upon:

Be it lawful, I take up what's cast away. Takes her hand

Gods, gods! 'Tis strange that from their cold'st neglect

My love should kindle to inflamed respect.-

Thy dowerless daughter, king, thrown to my chance,

Is queen of us, of ours and our fair France:

Not all the dukes of wat'rish Burgundy

Can buy this unprized precious maid of me.-

Bid them farewell, Cordelia, though unkind.

Thou losest here, a better where to find.

LEAR Thou hast her, France: let her be thine, for we

Have no such daughter, nor shall ever see

That face of hers again. Therefore be gone

Without our grace, our love, our benison.

Come, noble Burgundy.

Flourish. Exeunt. [France and the sisters remain]

FRANCE Bid farewell to your sisters.

CORDELIA The jewels of our father, with washèd eyes

Cordelia leaves you. I know you what you are,

And like a sister am most loath to call

Your faults as they are named. Love well our father:

To your professèd bosoms I commit him,

But yet, alas, stood I within his grace,

I would prefer him to a better place.

So farewell to you both.

REGAN Prescribe not us our duty.

GONERIL Let your study

Be to content your lord who hath received you

At fortune's alms. You have obedience scanted,

And well are worth the want that you have wanted.

CORDELIA Time shall unfold what plighted cunning hides:

Who covers faults, at last with shame derides.

Well may you prosper.

FRANCE Come, my fair Cordelia. Exit France and Cordelia

GONERIL Sister, it is not little I have to say of what most nearly appertains to us both. I think our father will hence tonight.

REGAN That's most certain, and with you: next month with us.

REGAN 'Tis the infirmity of his age: yet he hath ever but slenderly known himself.

REGAN Such unconstant starts are we like to have from him as this of Kent's banishment.

REGAN We shall further think of it.

GONERIL We must do something, and i'th'heat. Exeunt

Act 1 Scene 2 running scene 2

Gr 5-9

This shattering drama of isolation and loss is one of the greatest tragedies in world literature.

King Lear of Britain has three daughters: the hard-hearted Goneril and Regan, and the good and gentle Cordelia. He determines to divide his kingdom between them, giving the largest share to she who can say she loves him the best. Lear¿s tragic lack of judgement and self-knowledge is paralleled by the blindness of the loyal Gloucester who is persuaded to reject his virtuous son Edgar in favor of the villainous Edmund.

Lear is played by Trevor Peacock and Gloucester by Clive Merrison. Penny Downie is Goneril, Samantha Bond is Regan, and Julia Ford is Cordelia. Edgar is played by David Tennant, Edmund by Gerard Murphy, and the Fool by John Rogan.

A Shakespeare Society Production.

The complete play in five acts.

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Chapter One

Act 1 Scene 1 running scene 1

Enter Kent, Gloucester and Edmund

KENT I thought the king had more affected the Duke of Albany than Cornwall.

KENT Is not this your son, my lord?

GLOUCESTER 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.

GLOUCESTER Sir, this young fellow's mother could; whereupon she grew round-wombed and had indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault?

KENT I cannot wish the fault undone, the issue of it being so proper.

EDMUND No, my lord.

GLOUCESTER My lord of Kent: remember him hereafter as my honourable friend.

EDMUND My services to your lordship.

KENT I must love you, and sue to know you better.

EDMUND Sir, I shall study deserving.

GLOUCESTER He hath been out nine years, and away he shall again. The king is coming.

Sennet. Enter [one bearing a coronet, then] King Lear, Cornwall, Albany, Goneril, Regan, Cordelia and Attendants

LEAR Attend the lords of France and Burgundy, Gloucester.

GLOUCESTER I shall, my lord. Exit

LEAR Meantime we shall express our darker purpose.

Give me the map there. Kent or an Attendant gives Lear a map

Know that we have divided

In three our kingdom, and 'tis our fast intent

To shake all cares and business from our age,

Conferring them on younger strengths while we

Unburdened crawl toward death. Our son of

Cornwall,

And you our no less loving son of Albany,

We have this hour a constant will to publish

Our daughters' several dowers, that future strife

May be prevented now. The princes, France and

Burgundy,

Great rivals in our youngest daughter's love,

Long in our court have made their amorous sojourn

And here are to be answered. Tell me, my

daughters -

Since now we will divest us both of rule,

Interest of territory, cares of state -

Which of you shall we say doth love us most,

That we our largest bounty may extend

Where nature doth with merit challenge? Goneril,

Our eldest born, speak first.

GONERIL Sir, I love you more than word can wield the matter,

Dearer than eyesight, space and liberty,

Beyond what can be valued rich or rare,

No less than life, with grace, health, beauty, honour:

As much as child e'er loved or father found:

A love that makes breath poor and speech unable:

Beyond all manner of so much I love you.

CORDELIA What shall Cordelia speak? Love and be silent. Aside

LEAR Of all these bounds, even from this line to this, Points With shadowy forests and with champaigns riched, to the map

With plenteous rivers and wide-skirted meads,

We make thee lady. To thine and Albany's issues

Be this perpetual.- What says our second daughter?

Our dearest Regan, wife of Cornwall?

REGAN I am made of that self-mettle as my sister,

And prize me at her worth. In my true heart,

I find she names my very deed of love:

Only she comes too short, that I profess

Myself an enemy to all other joys

Which the most precious square of sense professes,

And find I am alone felicitate

In your dear highness' love.

CORDELIA Then poor Cordelia: Aside

And yet not so, since I am sure my love's

More ponderous 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 conferred on Goneril.- Now, our joy, To Cordelia

Although our last and least, to whose young love

The vines of France and milk of Burgundy

Strive to be interessed, what can you say to draw

A third more opulent than your sisters'? Speak.

CORDELIA Nothing, my lord.

LEAR Nothing?

CORDELIA Nothing.

LEAR Nothing will come of nothing: speak again.

CORDELIA Unhappy that I am, I cannot heave

My heart into my mouth: I love your majesty

According to my bond, no more nor less.

LEAR How, how, Cordelia? Mend your speech a little,

Lest you may mar your fortunes.

CORDELIA Good my lord,

You have begot me, bred me, loved me:

I return those duties back as are right fit,

Obey you, love you and most honour you.

Why have my sisters husbands if they say

They love you all? Happily when I shall wed,

That lord whose hand must take my plight shall

carry

Half my love with him, half my care and duty:

Sure I shall never marry like my sisters.

LEAR But goes thy heart with this?

CORDELIA Ay, my good lord.

LEAR So young and so untender?

CORDELIA So young, my lord, and true.

LEAR Let it be so: thy truth then be thy dower,

For by the sacred radiance of the sun,

The mysteries of Hecate and the night,

By all the operation of the orbs

From whom we do exist and cease to be,

Here I disclaim all my paternal care,

Propinquity and property of blood,

And as a stranger to my heart and me

Hold thee from this for ever. The barbarous Scythian,

Or he that makes his generation messes

To gorge his appetite, shall to my bosom

Be as well neighboured, pitied and relieved

As thou my sometime daughter.

KENT Good my liege-

LEAR Peace, Kent:

Come not between the dragon and his wrath.

I loved her most, and thought to set my rest

On her kind nursery.- Hence, and avoid my sight!- To

So be my grave my peace, as here I give Cordelia

Her father's heart from her. Call France. Who stirs?

Call Burgundy.- Cornwall and Albany,

[Exit Attendant]

With my two daughters' dowers digest the third.

Let pride, which she calls plainness, marry her.

I do invest you jointly with my power,

Pre-eminence, and all the large effects

That troop with majesty. Ourself by monthly course,

With reservation of an hundred knights

By you to be sustained, shall our abode

Make with you by due turn: only we shall retain

The name and all th'addition to a king: the sway,

Revenue, execution of the rest,

Belovèd sons, be yours, which to confirm,

This coronet part between you. Gives them coronet to break in half

KENT Royal Lear,

Whom I have ever honoured as my king,

Loved as my father, as my master followed,

As my great patron thought on in my prayers-

LEAR The bow is bent and drawn, make from the shaft.

KENT Let it fall rather, though the fork invade

The region of my heart: be Kent unmannerly

When Lear is mad. What wouldst thou do, old man?

Think'st thou that duty shall have dread to speak

When power to flattery bows? To plainness honour's

bound

When majesty falls to folly. Reserve thy state,

And in thy best consideration check

This hideous rashness. Answer my life my

judgement:

Thy youngest daughter does not love thee least,

Nor are those empty-hearted whose low sounds

Reverb no hollowness.

LEAR Kent, on thy life, no more.

KENT My life I never held but as pawn

To wage against thine enemies, ne'er fear to lose it,

Thy safety being motive.

LEAR Out of my sight!

KENT See better, Lear, and let me still remain

The true blank of thine eye.

LEAR Now, by Apollo-

KENT Now, by Apollo, king,

Thou swear'st thy gods in vain.

LEAR O, vassal! Miscreant! Puts his hand on his sword or attacks Kent

ALBANY and CORDELIA Dear sir, forbear.

KENT Kill thy physician, and thy fee bestow

Upon the foul disease. Revoke thy gift,

Or whilst I can vent clamour from my throat,

I'll tell thee thou dost evil.

LEAR Hear me, recreant, on thine allegiance hear me!

That thou hast sought to make us break our vows,

Which we durst never yet, and with strained pride

To come betwixt our sentences and our power,

Which nor our nature nor our place can bear,

Our potency made good, take thy reward:

Five days we do allot thee for provision

To shield thee from disasters of the world,

And on the sixth to turn thy hated back

Upon our kingdom: if on the next day following

Thy banished trunk be found in our dominions,

The moment is thy death. Away! By Jupiter,

This shall not be revoked.

KENT Fare thee well, king: sith thus thou wilt appear,

Freedom lives hence and banishment is here.-

The gods to their dear shelter take thee, maid, To Cordelia

That justly think'st, and hast most rightly said.-

And your large speeches may your deeds approve, To Goneril

That good effects may spring from words of love. and Regan

Thus Kent, O princes, bids you all adieu.

He'll shape his old course in a country new. Exit

Flourish. Enter Gloucester with France and Burgundy, Attendants

CORDELIA Here's France and Burgundy, my noble lord.

LEAR My lord of Burgundy,

We first address toward you, who with this king

Hath rivalled for our daughter: what in the least

Will you require in present dower with her,

Or cease your quest of love?

BURGUNDY Most royal majesty,

I crave no more than hath your highness offered,

Nor will you tender less.

LEAR Right noble Burgundy,

When she was dear to us, we did hold her so,

But now her price is fallen. Sir, there she stands:

If aught within that little seeming substance,

Or all of it, with our displeasure pieced,

And nothing more, may fitly like your grace,

She's there, and she is yours.

BURGUNDY I know no answer.

LEAR Will you, with those infirmities she owes,

Unfriended, new-adopted to our hate,

Dowered with our curse and strangered with our

oath,

Take her or leave her?

BURGUNDY Pardon me, royal sir:

Election makes not up in such conditions.

LEAR Then leave her, sir, for by the power that made me,

I tell you all her wealth.- For you, great king, To France

I would not from your love make such a stray

To match you where I hate, therefore beseech you

T'avert your liking a more worthier way

Than on a wretch whom nature is ashamed

Almost t'acknowledge hers.

FRANCE This is most strange,

That she whom even but now was your object,

The argument of your praise, balm of your age,

The best, the dearest, should in this trice of time

Commit a thing so monstrous to dismantle

So many folds of favour. Sure her offence

Must be of such unnatural degree

That monsters it, or your fore-vouched affection

Fall into taint, which to believe of her

Must be a faith that reason without miracle

Should never plant in me.

CORDELIA I yet beseech your majesty -

If for I want that glib and oily art

To speak and purpose not, since what I will intend

I'll do't before I speak - that you make known

It is no vicious blot, murder, or foulness,

No unchaste action or dishonoured step

That hath deprived me of your grace and favour,

But even for want of that for which I am richer:

A still-soliciting eye and such a tongue

That I am glad I have not, though not to have it

Hath lost me in your liking.

LEAR Better thou hadst

Not been born than not t'have pleased me better.

FRANCE Is it but this? A tardiness in nature,

Which often leaves the history unspoke

That it intends to do? My lord of Burgundy,

What say you to the lady? Love's not love

When it is mingled with regards that stands

Aloof from th'entire point. Will you have her?

She is herself a dowry.

BURGUNDY Royal king, To Lear

Give but that portion which yourself proposed,

And here I take Cordelia by the hand,

Duchess of Burgundy.

LEAR Nothing: I have sworn: I am firm.

BURGUNDY I am sorry, then, you have so lost a father To Cordelia

That you must lose a husband.

CORDELIA Peace be with Burgundy.

Since that respect and fortunes are his love,

I shall not be his wife.

FRANCE Fairest Cordelia, that art most rich being poor,

Most choice forsaken, and most loved despised,

Thee and thy virtues here I seize upon:

Be it lawful, I take up what's cast away. Takes her hand

Gods, gods! 'Tis strange that from their cold'st neglect

My love should kindle to inflamed respect.-

Thy dowerless daughter, king, thrown to my chance,

Is queen of us, of ours and our fair France:

Not all the dukes of wat'rish Burgundy

Can buy this unprized precious maid of me.-

Bid them farewell, Cordelia, though unkind.

Thou losest here, a better where to find.

LEAR Thou hast her, France: let her be thine, for we

Have no such daughter, nor shall ever see

That face of hers again. Therefore be gone

Without our grace, our love, our benison.

Come, noble Burgundy.

Flourish. Exeunt. [France and the sisters remain]

FRANCE Bid farewell to your sisters.

CORDELIA The jewels of our father, with washèd eyes

Cordelia leaves you. I know you what you are,

And like a sister am most loath to call

Your faults as they are named. Love well our father:

To your professèd bosoms I commit him,

But yet, alas, stood I within his grace,

I would prefer him to a better place.

So farewell to you both.

REGAN Prescribe not us our duty.

GONERIL Let your study

Be to content your lord who hath received you

At fortune's alms. You have obedience scanted,

And well are worth the want that you have wanted.

CORDELIA Time shall unfold what plighted cunning hides:

Who covers faults, at last with shame derides.

Well may you prosper.

FRANCE Come, my fair Cordelia. Exit France and Cordelia

GONERIL Sister, it is not little I have to say of what most nearly appertains to us both. I think our father will hence tonight.

REGAN That's most certain, and with you: next month with us.

REGAN 'Tis the infirmity of his age: yet he hath ever but slenderly known himself.

REGAN Such unconstant starts are we like to have from him as this of Kent's banishment.

REGAN We shall further think of it.

GONERIL We must do something, and i'th'heat. Exeunt

Act 1 Scene 2 running scene 2

Enter Bastard [Edmund] With a letter\"},{\"id\":\"54971739T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"1\",\"text\":\"

Gr 5-9

\"},{\"id\":\"54971737T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"2\",\"text\":\"From an artist known for his vivid graphic-novel reworkings of Beowulf (2007) and The Merchant of Venice (2008) comes this nuanced adaptation of King Lear. Employing a range of artistic styles that convey dramatic mood, the artist begins the play almost as a fairy tale, featuring bright, softly washed drawings. Once Cordelia is cast out and things sour, the images become darker and more compact. As the king descends into madness, the art becomes downright menacing, with Lear appearing as a jagged, ghostly figure drawn with white pencil on a dark background. These visual cues assist to a degree in deciphering the meaning of the Shakespearean language. Much of the text of the play remains intact, though in the backmatter Hinds dissects page by page what changes were made and why, offering scholarly interpretations that are both insightful and cleanly summative. The story doesn't leap from page, but this is a remarkably rendered and worthwhile treatment of the tragedy. (Graphic drama. 13 & up)\"},{\"id\":\"55506699T\",\"type\":\"Findaway Description\",\"linkText\":\"Audio Description\",\"typeId\":\"1055\",\"abbr\":\"ADS\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"I am a man more sinned against than sinning.

A Shakespeare Society Production.

The complete play in five acts.

\"},{\"id\":\"54971789T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"Paul Scofield has made a distinguished contribution to film, stage and television with a series of hallmark performances over some six decades. These include his original appearances as King Lear in Peter Brook's production in the 1960s which toured widely, was filmed and recorded.

Chapter One

Act 1 Scene 1 running scene 1

Enter Kent, Gloucester and Edmund

KENT I thought the king had more affected the Duke of Albany than Cornwall.

KENT Is not this your son, my lord?

GLOUCESTER 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.

GLOUCESTER Sir, this young fellow's mother could; whereupon she grew round-wombed and had indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault?

KENT I cannot wish the fault undone, the issue of it being so proper.

EDMUND No, my lord.

GLOUCESTER My lord of Kent: remember him hereafter as my honourable friend.

EDMUND My services to your lordship.

KENT I must love you, and sue to know you better.

EDMUND Sir, I shall study deserving.

GLOUCESTER He hath been out nine years, and away he shall again. The king is coming.

Sennet. Enter [one bearing a coronet, then] King Lear, Cornwall, Albany, Goneril, Regan, Cordelia and Attendants

LEAR Attend the lords of France and Burgundy, Gloucester.

GLOUCESTER I shall, my lord. Exit

LEAR Meantime we shall express our darker purpose.

Give me the map there. Kent or an Attendant gives Lear a map

Know that we have divided

In three our kingdom, and 'tis our fast intent

To shake all cares and business from our age,

Conferring them on younger strengths while we

Unburdened crawl toward death. Our son of

Cornwall,

And you our no less loving son of Albany,

We have this hour a constant will to publish

Our daughters' several dowers, that future strife

May be prevented now. The princes, France and

Burgundy,

Great rivals in our youngest daughter's love,

Long in our court have made their amorous sojourn

And here are to be answered. Tell me, my

daughters -

Since now we will divest us both of rule,

Interest of territory, cares of state -

Which of you shall we say doth love us most,

That we our largest bounty may extend

Where nature doth with merit challenge? Goneril,

Our eldest born, speak first.

GONERIL Sir, I love you more than word can wield the matter,

Dearer than eyesight, space and liberty,

Beyond what can be valued rich or rare,

No less than life, with grace, health, beauty, honour:

As much as child e'er loved or father found:

A love that makes breath poor and speech unable:

Beyond all manner of so much I love you.

CORDELIA What shall Cordelia speak? Love and be silent. Aside

LEAR Of all these bounds, even from this line to this, Points With shadowy forests and with champaigns riched, to the map

With plenteous rivers and wide-skirted meads,

We make thee lady. To thine and Albany's issues

Be this perpetual.- What says our second daughter?

Our dearest Regan, wife of Cornwall?

REGAN I am made of that self-mettle as my sister,

And prize me at her worth. In my true heart,

I find she names my very deed of love:

Only she comes too short, that I profess

Myself an enemy to all other joys

Which the most precious square of sense professes,

And find I am alone felicitate

In your dear highness' love.

CORDELIA Then poor Cordelia: Aside

And yet not so, since I am sure my love's

More ponderous 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 conferred on Goneril.- Now, our joy, To Cordelia

Although our last and least, to whose young love

The vines of France and milk of Burgundy

Strive to be interessed, what can you say to draw

A third more opulent than your sisters'? Speak.

CORDELIA Nothing, my lord.

LEAR Nothing?

CORDELIA Nothing.

LEAR Nothing will come of nothing: speak again.

CORDELIA Unhappy that I am, I cannot heave

My heart into my mouth: I love your majesty

According to my bond, no more nor less.

LEAR How, how, Cordelia? Mend your speech a little,

Lest you may mar your fortunes.

CORDELIA Good my lord,

You have begot me, bred me, loved me:

I return those duties back as are right fit,

Obey you, love you and most honour you.

Why have my sisters husbands if they say

They love you all? Happily when I shall wed,

That lord whose hand must take my plight shall

carry

Half my love with him, half my care and duty:

Sure I shall never marry like my sisters.

LEAR But goes thy heart with this?

CORDELIA Ay, my good lord.

LEAR So young and so untender?

CORDELIA So young, my lord, and true.

LEAR Let it be so: thy truth then be thy dower,

For by the sacred radiance of the sun,

The mysteries of Hecate and the night,

By all the operation of the orbs

From whom we do exist and cease to be,

Here I disclaim all my paternal care,

Propinquity and property of blood,

And as a stranger to my heart and me

Hold thee from this for ever. The barbarous Scythian,

Or he that makes his generation messes

To gorge his appetite, shall to my bosom

Be as well neighboured, pitied and relieved

As thou my sometime daughter.

KENT Good my liege-

LEAR Peace, Kent:

Come not between the dragon and his wrath.

I loved her most, and thought to set my rest

On her kind nursery.- Hence, and avoid my sight!- To

So be my grave my peace, as here I give Cordelia

Her father's heart from her. Call France. Who stirs?

Call Burgundy.- Cornwall and Albany,

[Exit Attendant]

With my two daughters' dowers digest the third.

Let pride, which she calls plainness, marry her.

I do invest you jointly with my power,

Pre-eminence, and all the large effects

That troop with majesty. Ourself by monthly course,

With reservation of an hundred knights

By you to be sustained, shall our abode

Make with you by due turn: only we shall retain

The name and all th'addition to a king: the sway,

Revenue, execution of the rest,

Belovèd sons, be yours, which to confirm,

This coronet part between you. Gives them coronet to break in half

KENT Royal Lear,

Whom I have ever honoured as my king,

Loved as my father, as my master followed,

As my great patron thought on in my prayers-

LEAR The bow is bent and drawn, make from the shaft.

KENT Let it fall rather, though the fork invade

The region of my heart: be Kent unmannerly

When Lear is mad. What wouldst thou do, old man?

Think'st thou that duty shall have dread to speak

When power to flattery bows? To plainness honour's

bound

When majesty falls to folly. Reserve thy state,

And in thy best consideration check

This hideous rashness. Answer my life my

judgement:

Thy youngest daughter does not love thee least,

Nor are those empty-hearted whose low sounds

Reverb no hollowness.

LEAR Kent, on thy life, no more.

KENT My life I never held but as pawn

To wage against thine enemies, ne'er fear to lose it,

Thy safety being motive.

LEAR Out of my sight!

KENT See better, Lear, and let me still remain

The true blank of thine eye.

LEAR Now, by Apollo-

KENT Now, by Apollo, king,

Thou swear'st thy gods in vain.

LEAR O, vassal! Miscreant! Puts his hand on his sword or attacks Kent

ALBANY and CORDELIA Dear sir, forbear.

KENT Kill thy physician, and thy fee bestow

Upon the foul disease. Revoke thy gift,

Or whilst I can vent clamour from my throat,

I'll tell thee thou dost evil.

LEAR Hear me, recreant, on thine allegiance hear me!

That thou hast sought to make us break our vows,

Which we durst never yet, and with strained pride

To come betwixt our sentences and our power,

Which nor our nature nor our place can bear,

Our potency made good, take thy reward:

Five days we do allot thee for provision

To shield thee from disasters of the world,

And on the sixth to turn thy hated back

Upon our kingdom: if on the next day following

Thy banished trunk be found in our dominions,

The moment is thy death. Away! By Jupiter,

This shall not be revoked.

KENT Fare thee well, king: sith thus thou wilt appear,

Freedom lives hence and banishment is here.-

The gods to their dear shelter take thee, maid, To Cordelia

That justly think'st, and hast most rightly said.-

And your large speeches may your deeds approve, To Goneril

That good effects may spring from words of love. and Regan

Thus Kent, O princes, bids you all adieu.

He'll shape his old course in a country new. Exit

Flourish. Enter Gloucester with France and Burgundy, Attendants

CORDELIA Here's France and Burgundy, my noble lord.

LEAR My lord of Burgundy,

We first address toward you, who with this king

Hath rivalled for our daughter: what in the least

Will you require in present dower with her,

Or cease your quest of love?

BURGUNDY Most royal majesty,

I crave no more than hath your highness offered,

Nor will you tender less.

LEAR Right noble Burgundy,

When she was dear to us, we did hold her so,

But now her price is fallen. Sir, there she stands:

If aught within that little seeming substance,

Or all of it, with our displeasure pieced,

And nothing more, may fitly like your grace,

She's there, and she is yours.

BURGUNDY I know no answer.

LEAR Will you, with those infirmities she owes,

Unfriended, new-adopted to our hate,

Dowered with our curse and strangered with our

oath,

Take her or leave her?

BURGUNDY Pardon me, royal sir:

Election makes not up in such conditions.

LEAR Then leave her, sir, for by the power that made me,

I tell you all her wealth.- For you, great king, To France

I would not from your love make such a stray

To match you where I hate, therefore beseech you

T'avert your liking a more worthier way

Than on a wretch whom nature is ashamed

Almost t'acknowledge hers.

FRANCE This is most strange,

That she whom even but now was your object,

The argument of your praise, balm of your age,

The best, the dearest, should in this trice of time

Commit a thing so monstrous to dismantle

So many folds of favour. Sure her offence

Must be of such unnatural degree

That monsters it, or your fore-vouched affection

Fall into taint, which to believe of her

Must be a faith that reason without miracle

Should never plant in me.

CORDELIA I yet beseech your majesty -

If for I want that glib and oily art

To speak and purpose not, since what I will intend

I'll do't before I speak - that you make known

It is no vicious blot, murder, or foulness,

No unchaste action or dishonoured step

That hath deprived me of your grace and favour,

But even for want of that for which I am richer:

A still-soliciting eye and such a tongue

That I am glad I have not, though not to have it

Hath lost me in your liking.

LEAR Better thou hadst

Not been born than not t'have pleased me better.

FRANCE Is it but this? A tardiness in nature,

Which often leaves the history unspoke

That it intends to do? My lord of Burgundy,

What say you to the lady? Love's not love

When it is mingled with regards that stands

Aloof from th'entire point. Will you have her?

She is herself a dowry.

BURGUNDY Royal king, To Lear

Give but that portion which yourself proposed,

And here I take Cordelia by the hand,

Duchess of Burgundy.

LEAR Nothing: I have sworn: I am firm.

BURGUNDY I am sorry, then, you have so lost a father To Cordelia

That you must lose a husband.

CORDELIA Peace be with Burgundy.

Since that respect and fortunes are his love,

I shall not be his wife.

FRANCE Fairest Cordelia, that art most rich being poor,

Most choice forsaken, and most loved despised,

Thee and thy virtues here I seize upon:

Be it lawful, I take up what's cast away. Takes her hand

Gods, gods! 'Tis strange that from their cold'st neglect

My love should kindle to inflamed respect.-

Thy dowerless daughter, king, thrown to my chance,

Is queen of us, of ours and our fair France:

Not all the dukes of wat'rish Burgundy

Can buy this unprized precious maid of me.-

Bid them farewell, Cordelia, though unkind.

Thou losest here, a better where to find.

LEAR Thou hast her, France: let her be thine, for we

Have no such daughter, nor shall ever see

That face of hers again. Therefore be gone

Without our grace, our love, our benison.

Come, noble Burgundy.

Flourish. Exeunt. [France and the sisters remain]

FRANCE Bid farewell to your sisters.

CORDELIA The jewels of our father, with washèd eyes

Cordelia leaves you. I know you what you are,

And like a sister am most loath to call

Your faults as they are named. Love well our father:

To your professèd bosoms I commit him,

But yet, alas, stood I within his grace,

I would prefer him to a better place.

So farewell to you both.

REGAN Prescribe not us our duty.

GONERIL Let your study

Be to content your lord who hath received you

At fortune's alms. You have obedience scanted,

And well are worth the want that you have wanted.

CORDELIA Time shall unfold what plighted cunning hides:

Who covers faults, at last with shame derides.

Well may you prosper.

FRANCE Come, my fair Cordelia. Exit France and Cordelia

GONERIL Sister, it is not little I have to say of what most nearly appertains to us both. I think our father will hence tonight.

REGAN That's most certain, and with you: next month with us.

REGAN 'Tis the infirmity of his age: yet he hath ever but slenderly known himself.

REGAN Such unconstant starts are we like to have from him as this of Kent's banishment.

REGAN We shall further think of it.

GONERIL We must do something, and i'th'heat. Exeunt

Act 1 Scene 2 running scene 2

Gr 5-9

\"},{\"id\":\"54971737T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"2\",\"text\":\"From an artist known for his vivid graphic-novel reworkings of Beowulf (2007) and The Merchant of Venice (2008) comes this nuanced adaptation of King Lear. Employing a range of artistic styles that convey dramatic mood, the artist begins the play almost as a fairy tale, featuring bright, softly washed drawings. Once Cordelia is cast out and things sour, the images become darker and more compact. As the king descends into madness, the art becomes downright menacing, with Lear appearing as a jagged, ghostly figure drawn with white pencil on a dark background. These visual cues assist to a degree in deciphering the meaning of the Shakespearean language. Much of the text of the play remains intact, though in the backmatter Hinds dissects page by page what changes were made and why, offering scholarly interpretations that are both insightful and cleanly summative. The story doesn't leap from page, but this is a remarkably rendered and worthwhile treatment of the tragedy. (Graphic drama. 13 & up)\"},{\"id\":\"56110281T\",\"type\":\"Findaway Description\",\"linkText\":\"Audio Description\",\"typeId\":\"1055\",\"abbr\":\"ADS\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"I am a man more sinned against than sinning.

A Shakespeare Society Production.

The complete play in five acts.

King Lear is considered one of Shakespeare's greatest plays. King Lear decides to step down and divide his kingdom between his three daughters. When his youngest and favorite daughter refuses to compete and perform her love for him, he is enraged and disowns her. She remains loyal to him, however, though he slides into madness and his other children betray him.

","King Lear is considered one of Shakespeare's greatest plays. King Lear decides to step down and divide his kingdom between his three daughters. When his youngest and favorite daughter refuses to compete and perform her love for him, he is enraged and disowns her. She remains loyal to him, however, though he slides into madness and his other children betray 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King Lear is driven to the brink of madness by his own actions when he disinherits his youngest daughter, the lovely Cordelia, because of her inability to express her love for him. Having divided his realm between his remaining daughters, Goneril and Regan, Lear is betrayed by his two foolish and deceitful children, and is left to wander the heath with only his Fool, his servant Caius, and the madman Tom O’Bedlam for company. Eventually reunited with Cordelia, Lear is too late repents his rashness, and must face the tragic consequences of his choices.

Known as “The Bard of Avon,” William Shakespeare is arguably the greatest English-language writer known. Enormously popular during his life, Shakespeare’s works continue to resonate more than three centuries after his death, as has his influence on theatre and literature. Shakespeare’s innovative use of character, language, and experimentation with romance as tragedy served as a foundation for later playwrights and dramatists, and some of his most famous lines of dialogue have become part of everyday speech.

HarperPerennial Classics brings great works of literature to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperPerennial Classics collection to build your digital library.

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William Shakespeare is the world's greatest ever playwright. Born in 1564, he split his time between Stratford-upon-Avon and London, where he worked as a playwright, poet and actor. In 1582 he married Anne Hathaway. Shakespeare died in 1616 at the age of fifty-two, leaving three children—Susanna, Hamnet and Judith. The rest is silence.

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Arguably the greatest English-language playwright, William Shakespeare was a seventeenth-century writer and dramatist, and is known as the “Bard of Avon.” Under the patronage of Queen Elizabeth I, he penned more than 30 plays, 154 sonnets, and numerous narrative poems and short verses. Equally accomplished in histories, tragedies, comedy, and romance, Shakespeare’s most famous works include Romeo and Juliet, Hamlet, Macbeth, King Lear, The Taming of the Shrew, and As You Like It.

Like many of his contemporaries, including Christopher Marlowe, Shakespeare began his career on the stage, eventually rising to become part-owner of Lord Chamberlain’s Men, a popular dramatic company of his day, and of the storied Globe Theatre in London.

Extremely popular in his lifetime, Shakespeare’s works continue to resonate more than three hundred years after his death. His plays are performed more often than any other playwright’s, have been translated into every major language in the world, and are studied widely by scholars and students.

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William Shakespeare is widely considered the greatest writer in the history of the English language, so renowned and respected that the time period in which he lived is often known as the Age of Shakespeare. Indeed, his genius is questioned only by those who doubt the authenticity of his authorship of timeless classics like Romeo and Juliet. As Ben Jonson once put it, \"He was not of an age, but for all time.” No other writer, in English or in any other language, can rival the appeal that Shakespeare has enjoyed around the world, and nobody’s had a bigger influence.

The “Bard of Avon” has a catalogue full of the best known plays and poetry in history. His surviving works, including some collaborations, consist of about 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the 16th century. He then wrote mainly tragedies until about 1608, and in his last phase, he wrote tragicomedies. Even those who have never read works like Othello, Macbeth, King Lear, or Hamlet are instantly familiar with the names.

Although his works are so well known, major details of his life are still sketchy. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his physical appearance, sexuality, religious beliefs, and even whether the works attributed to him were written by others.

This edition of Shakespeare’s King Lear is specially formatted with a Table of Contents and is illustrated with over a dozen pictures of history’s greatest playwright.","*Illustrated*Includes Table of ContentsWilliam Shakespeare is widely considered the greatest writer in the history of the English language, so renowned and respected that the time period in which he lived is often known as the Age of Shakespeare. Indeed, his genius is questioned only by those who doubt the authenticity of his authorship of timeless classics like Romeo and Juliet. As Ben Jonson once put it, \"He was not of an age, but for all time.” No other writer, in English or in any other language, can rival the appeal that Shakespeare has enjoyed around the world, and nobody’s had a bigger influence. The “Bard of Avon” has a catalogue full of the best known plays and poetry in history. His surviving works, including some collaborations, consist of about 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the 16th century. He then wrote mainly tragedies until about 1608, and in his last phase, he wrote tragicomedies. Even those who have never read works like Othello, Macbeth, King Lear, or Hamlet are instantly familiar with the names. Although his works are so well known, major details of his life are still sketchy. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his physical appearance, sexuality, religious beliefs, and even whether the works attributed to him were written by others.This edition of Shakespeare’s King Lear is specially formatted with a Table of Contents and is illustrated with over a dozen pictures of history’s greatest playwright.",[4586,4587],{"_224":7604,"_235":7605},{"_226":227,"_228":229},{"_226":227,"_228":229},{"_224":7607,"_235":7608},{"_226":234,"_228":229},{"_226":234,"_228":229},{"_239":7610},[7611],{"_36":7612,"_60":7613,"_221":-5,"_62":7614,"_56":4932},"gid://shopify/ProductImage/48124964667632","https://cdn.shopify.com/s/files/1/0737/7593/9824/files/137942132.jpg?v=1746792679",542,{"_239":7616},[7617],{"_36":7618,"_192":7619},"gid://shopify/MediaImage/39543711039728",{"_36":7620,"_60":7613,"_221":-5,"_62":7614,"_56":4932},"gid://shopify/ImageSource/39565963854064",[7622],{"_252":253,"_4606":7623},[7624],{"_252":255,"_4609":7625,"_4618":-5},{"_230":121,"_243":-5,"_36":7626,"_192":7627,"_245":7628,"_247":7629,"_249":7630,"_256":7599,"_78":255,"_257":-5,"_4617":8},"gid://shopify/ProductVariant/47145616212208",{"_203":4754,"_36":7612,"_60":7613,"_221":-5,"_62":7614,"_56":4932},{"_226":227,"_228":229},{"_78":7597,"_209":7599},[7631],{"_252":253,"_254":255},{"_230":121,"_243":-5,"_36":7626,"_192":7633,"_245":7634,"_247":7635,"_249":7636,"_256":7599,"_78":255,"_257":-5,"_4617":8},{"_203":4754,"_36":7612,"_60":7613,"_221":-5,"_62":7614,"_56":4932},{"_226":227,"_228":229},{"_78":7597,"_209":7599},[7637],{"_252":253,"_254":255},[],{"_211":-5,"_78":-5},{"_254":7599},{"_254":208},{"_254":4634},{"_254":7644},"2011-10-07T04:00:00Z",{"_254":4640},{"_254":208},{"_254":4659},{"_254":5782},{"_254":7650},"[{\"contributorId\":151957,\"firstName\":\"William\",\"lastName\":\"Shakespeare\",\"jobName\":\"Author\",\"jobPrimary\":true,\"jobType\":\"Creative\",\"sequenceNumber\":1},{\"contributorId\":13186475,\"firstName\":null,\"lastName\":\"Charles River Editors\",\"jobName\":\"Editor\",\"jobPrimary\":false,\"jobType\":\"Creative\",\"sequenceNumber\":2}]",{"_254":4671},{"_254":4004},{"_254":5787},{"_254":5789},{"_4684":4685,"_254":6273},{"_4684":5321,"_254":7657},"[{\"Key\":\"BrowseMinutes\",\"Value\":\"60\"},{\"Key\":\"DCVendorName\",\"Value\":\"Charles River Editors\"},{\"Key\":\"DigitalSampleCode\",\"Value\":\"Y\"},{\"Key\":\"eGiftStatusCode\",\"Value\":\"Y\"},{\"Key\":\"FileSize\",\"Value\":\"639740\"},{\"Key\":\"hasDRM\",\"Value\":\"1\"},{\"Key\":\"isBrowsable\",\"Value\":\"1\"},{\"Key\":\"isEnhanced\",\"Value\":\"0\"},{\"Key\":\"isLoanable\",\"Value\":\"1\"},{\"Key\":\"LoanDays\",\"Value\":\"14\"},{\"Key\":\"MaxLoans\",\"Value\":\"1\"},{\"Key\":\"SampleEAN\",\"Value\":\"2970013258409\"},{\"Key\":\"SoldBy\",\"Value\":\"Barnes & Noble\"},{\"Key\":\"vendorId\",\"Value\":\"PUB0031781\"},{\"Key\":\"WebReadCode\",\"Value\":\"Y\"}]",[7659,7660,7661,7663,7664,7665,7666,-5,7667,7668,-5,-5,-5,-5,7669,7670,-5,-5,-5,7671,7672,-5,-5,-5,-5,7673,-5,-5,-5,7674,7675,-5,-5,-5],{"_265":266,"_267":298,"_254":4671},{"_265":266,"_267":4673,"_254":4004},{"_265":266,"_267":268,"_254":7662},"[{\"contributorId\":151957,\"fullName\":\"William Shakespeare\",\"jobName\":\"Author\",\"sequenceNumber\":1},{\"contributorId\":13186475,\"fullName\":\"Charles River Editors\",\"jobName\":\"Editor\",\"sequenceNumber\":2}]",{"_265":266,"_267":280,"_254":208},{"_265":266,"_267":283,"_254":208},{"_265":266,"_267":286,"_254":158},{"_265":266,"_267":290,"_254":6285},{"_265":266,"_267":4629,"_254":7599},{"_265":266,"_267":306,"_254":208},{"_265":266,"_267":302,"_254":4634},{"_265":266,"_267":5806,"_254":3868},{"_265":266,"_267":4711,"_254":5890},{"_265":266,"_267":4714,"_254":6052},{"_265":266,"_267":5812,"_254":5813},{"_265":266,"_267":4635,"_254":7644},{"_265":266,"_267":4638,"_254":4640},{"_4720":7677},{"_36":7678,"_78":4814,"_4576":7679,"_209":7680,"_213":7681,"_211":7682,"_4580":4581,"_4582":4581,"_4584":7683,"_207":208,"_222":7684,"_231":7687,"_4597":7690,"_4600":7696,"_4603":7702,"_4619":7713,"_4626":7719,"_4472":7720,"_4629":7721,"_306":7722,"_302":7723,"_4635":7724,"_4638":7726,"_4641":-5,"_4642":-5,"_272":-5,"_4645":-5,"_56":-5,"_62":-5,"_4652":-5,"_4655":-5,"_4656":-5,"_283":7727,"_4546":7728,"_4660":-5,"_4661":-5,"_258":7729,"_4662":7730,"_4665":-5,"_4668":-5,"_4669":-5,"_298":7732,"_4672":-5,"_4673":7733,"_4676":7734,"_4679":7735,"_4682":7736,"_4687":-5,"_4688":7737,"_4689":-5,"_261":7739},"gid://shopify/Product/9308196962544","Grant Winters","2940014852777","King Lear, by William Shakespeare. 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Chapter One

Act 1 Scene 1 running scene 1

Enter Kent, Gloucester and Edmund

KENT I thought the king had more affected the Duke of Albany than Cornwall.

KENT Is not this your son, my lord?

GLOUCESTER 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.

GLOUCESTER Sir, this young fellow's mother could; whereupon she grew round-wombed and had indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault?

KENT I cannot wish the fault undone, the issue of it being so proper.

EDMUND No, my lord.

GLOUCESTER My lord of Kent: remember him hereafter as my honourable friend.

EDMUND My services to your lordship.

KENT I must love you, and sue to know you better.

EDMUND Sir, I shall study deserving.

GLOUCESTER He hath been out nine years, and away he shall again. The king is coming.

Sennet. Enter [one bearing a coronet, then] King Lear, Cornwall, Albany, Goneril, Regan, Cordelia and Attendants

LEAR Attend the lords of France and Burgundy, Gloucester.

GLOUCESTER I shall, my lord. Exit

LEAR Meantime we shall express our darker purpose.

Give me the map there. Kent or an Attendant gives Lear a map

Know that we have divided

In three our kingdom, and 'tis our fast intent

To shake all cares and business from our age,

Conferring them on younger strengths while we

Unburdened crawl toward death. Our son of

Cornwall,

And you our no less loving son of Albany,

We have this hour a constant will to publish

Our daughters' several dowers, that future strife

May be prevented now. The princes, France and

Burgundy,

Great rivals in our youngest daughter's love,

Long in our court have made their amorous sojourn

And here are to be answered. Tell me, my

daughters -

Since now we will divest us both of rule,

Interest of territory, cares of state -

Which of you shall we say doth love us most,

That we our largest bounty may extend

Where nature doth with merit challenge? Goneril,

Our eldest born, speak first.

GONERIL Sir, I love you more than word can wield the matter,

Dearer than eyesight, space and liberty,

Beyond what can be valued rich or rare,

No less than life, with grace, health, beauty, honour:

As much as child e'er loved or father found:

A love that makes breath poor and speech unable:

Beyond all manner of so much I love you.

CORDELIA What shall Cordelia speak? Love and be silent. Aside

LEAR Of all these bounds, even from this line to this, Points With shadowy forests and with champaigns riched, to the map

With plenteous rivers and wide-skirted meads,

We make thee lady. To thine and Albany's issues

Be this perpetual.- What says our second daughter?

Our dearest Regan, wife of Cornwall?

REGAN I am made of that self-mettle as my sister,

And prize me at her worth. In my true heart,

I find she names my very deed of love:

Only she comes too short, that I profess

Myself an enemy to all other joys

Which the most precious square of sense professes,

And find I am alone felicitate

In your dear highness' love.

CORDELIA Then poor Cordelia: Aside

And yet not so, since I am sure my love's

More ponderous 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 conferred on Goneril.- Now, our joy, To Cordelia

Although our last and least, to whose young love

The vines of France and milk of Burgundy

Strive to be interessed, what can you say to draw

A third more opulent than your sisters'? Speak.

CORDELIA Nothing, my lord.

LEAR Nothing?

CORDELIA Nothing.

LEAR Nothing will come of nothing: speak again.

CORDELIA Unhappy that I am, I cannot heave

My heart into my mouth: I love your majesty

According to my bond, no more nor less.

LEAR How, how, Cordelia? Mend your speech a little,

Lest you may mar your fortunes.

CORDELIA Good my lord,

You have begot me, bred me, loved me:

I return those duties back as are right fit,

Obey you, love you and most honour you.

Why have my sisters husbands if they say

They love you all? Happily when I shall wed,

That lord whose hand must take my plight shall

carry

Half my love with him, half my care and duty:

Sure I shall never marry like my sisters.

LEAR But goes thy heart with this?

CORDELIA Ay, my good lord.

LEAR So young and so untender?

CORDELIA So young, my lord, and true.

LEAR Let it be so: thy truth then be thy dower,

For by the sacred radiance of the sun,

The mysteries of Hecate and the night,

By all the operation of the orbs

From whom we do exist and cease to be,

Here I disclaim all my paternal care,

Propinquity and property of blood,

And as a stranger to my heart and me

Hold thee from this for ever. The barbarous Scythian,

Or he that makes his generation messes

To gorge his appetite, shall to my bosom

Be as well neighboured, pitied and relieved

As thou my sometime daughter.

KENT Good my liege-

LEAR Peace, Kent:

Come not between the dragon and his wrath.

I loved her most, and thought to set my rest

On her kind nursery.- Hence, and avoid my sight!- To

So be my grave my peace, as here I give Cordelia

Her father's heart from her. Call France. Who stirs?

Call Burgundy.- Cornwall and Albany,

[Exit Attendant]

With my two daughters' dowers digest the third.

Let pride, which she calls plainness, marry her.

I do invest you jointly with my power,

Pre-eminence, and all the large effects

That troop with majesty. Ourself by monthly course,

With reservation of an hundred knights

By you to be sustained, shall our abode

Make with you by due turn: only we shall retain

The name and all th'addition to a king: the sway,

Revenue, execution of the rest,

Belovèd sons, be yours, which to confirm,

This coronet part between you. Gives them coronet to break in half

KENT Royal Lear,

Whom I have ever honoured as my king,

Loved as my father, as my master followed,

As my great patron thought on in my prayers-

LEAR The bow is bent and drawn, make from the shaft.

KENT Let it fall rather, though the fork invade

The region of my heart: be Kent unmannerly

When Lear is mad. What wouldst thou do, old man?

Think'st thou that duty shall have dread to speak

When power to flattery bows? To plainness honour's

bound

When majesty falls to folly. Reserve thy state,

And in thy best consideration check

This hideous rashness. Answer my life my

judgement:

Thy youngest daughter does not love thee least,

Nor are those empty-hearted whose low sounds

Reverb no hollowness.

LEAR Kent, on thy life, no more.

KENT My life I never held but as pawn

To wage against thine enemies, ne'er fear to lose it,

Thy safety being motive.

LEAR Out of my sight!

KENT See better, Lear, and let me still remain

The true blank of thine eye.

LEAR Now, by Apollo-

KENT Now, by Apollo, king,

Thou swear'st thy gods in vain.

LEAR O, vassal! Miscreant! Puts his hand on his sword or attacks Kent

ALBANY and CORDELIA Dear sir, forbear.

KENT Kill thy physician, and thy fee bestow

Upon the foul disease. Revoke thy gift,

Or whilst I can vent clamour from my throat,

I'll tell thee thou dost evil.

LEAR Hear me, recreant, on thine allegiance hear me!

That thou hast sought to make us break our vows,

Which we durst never yet, and with strained pride

To come betwixt our sentences and our power,

Which nor our nature nor our place can bear,

Our potency made good, take thy reward:

Five days we do allot thee for provision

To shield thee from disasters of the world,

And on the sixth to turn thy hated back

Upon our kingdom: if on the next day following

Thy banished trunk be found in our dominions,

The moment is thy death. Away! By Jupiter,

This shall not be revoked.

KENT Fare thee well, king: sith thus thou wilt appear,

Freedom lives hence and banishment is here.-

The gods to their dear shelter take thee, maid, To Cordelia

That justly think'st, and hast most rightly said.-

And your large speeches may your deeds approve, To Goneril

That good effects may spring from words of love. and Regan

Thus Kent, O princes, bids you all adieu.

He'll shape his old course in a country new. Exit

Flourish. Enter Gloucester with France and Burgundy, Attendants

CORDELIA Here's France and Burgundy, my noble lord.

LEAR My lord of Burgundy,

We first address toward you, who with this king

Hath rivalled for our daughter: what in the least

Will you require in present dower with her,

Or cease your quest of love?

BURGUNDY Most royal majesty,

I crave no more than hath your highness offered,

Nor will you tender less.

LEAR Right noble Burgundy,

When she was dear to us, we did hold her so,

But now her price is fallen. Sir, there she stands:

If aught within that little seeming substance,

Or all of it, with our displeasure pieced,

And nothing more, may fitly like your grace,

She's there, and she is yours.

BURGUNDY I know no answer.

LEAR Will you, with those infirmities she owes,

Unfriended, new-adopted to our hate,

Dowered with our curse and strangered with our

oath,

Take her or leave her?

BURGUNDY Pardon me, royal sir:

Election makes not up in such conditions.

LEAR Then leave her, sir, for by the power that made me,

I tell you all her wealth.- For you, great king, To France

I would not from your love make such a stray

To match you where I hate, therefore beseech you

T'avert your liking a more worthier way

Than on a wretch whom nature is ashamed

Almost t'acknowledge hers.

FRANCE This is most strange,

That she whom even but now was your object,

The argument of your praise, balm of your age,

The best, the dearest, should in this trice of time

Commit a thing so monstrous to dismantle

So many folds of favour. Sure her offence

Must be of such unnatural degree

That monsters it, or your fore-vouched affection

Fall into taint, which to believe of her

Must be a faith that reason without miracle

Should never plant in me.

CORDELIA I yet beseech your majesty -

If for I want that glib and oily art

To speak and purpose not, since what I will intend

I'll do't before I speak - that you make known

It is no vicious blot, murder, or foulness,

No unchaste action or dishonoured step

That hath deprived me of your grace and favour,

But even for want of that for which I am richer:

A still-soliciting eye and such a tongue

That I am glad I have not, though not to have it

Hath lost me in your liking.

LEAR Better thou hadst

Not been born than not t'have pleased me better.

FRANCE Is it but this? A tardiness in nature,

Which often leaves the history unspoke

That it intends to do? My lord of Burgundy,

What say you to the lady? Love's not love

When it is mingled with regards that stands

Aloof from th'entire point. Will you have her?

She is herself a dowry.

BURGUNDY Royal king, To Lear

Give but that portion which yourself proposed,

And here I take Cordelia by the hand,

Duchess of Burgundy.

LEAR Nothing: I have sworn: I am firm.

BURGUNDY I am sorry, then, you have so lost a father To Cordelia

That you must lose a husband.

CORDELIA Peace be with Burgundy.

Since that respect and fortunes are his love,

I shall not be his wife.

FRANCE Fairest Cordelia, that art most rich being poor,

Most choice forsaken, and most loved despised,

Thee and thy virtues here I seize upon:

Be it lawful, I take up what's cast away. Takes her hand

Gods, gods! 'Tis strange that from their cold'st neglect

My love should kindle to inflamed respect.-

Thy dowerless daughter, king, thrown to my chance,

Is queen of us, of ours and our fair France:

Not all the dukes of wat'rish Burgundy

Can buy this unprized precious maid of me.-

Bid them farewell, Cordelia, though unkind.

Thou losest here, a better where to find.

LEAR Thou hast her, France: let her be thine, for we

Have no such daughter, nor shall ever see

That face of hers again. Therefore be gone

Without our grace, our love, our benison.

Come, noble Burgundy.

Flourish. Exeunt. [France and the sisters remain]

FRANCE Bid farewell to your sisters.

CORDELIA The jewels of our father, with washèd eyes

Cordelia leaves you. I know you what you are,

And like a sister am most loath to call

Your faults as they are named. Love well our father:

To your professèd bosoms I commit him,

But yet, alas, stood I within his grace,

I would prefer him to a better place.

So farewell to you both.

REGAN Prescribe not us our duty.

GONERIL Let your study

Be to content your lord who hath received you

At fortune's alms. You have obedience scanted,

And well are worth the want that you have wanted.

CORDELIA Time shall unfold what plighted cunning hides:

Who covers faults, at last with shame derides.

Well may you prosper.

FRANCE Come, my fair Cordelia. Exit France and Cordelia

GONERIL Sister, it is not little I have to say of what most nearly appertains to us both. I think our father will hence tonight.

REGAN That's most certain, and with you: next month with us.

REGAN 'Tis the infirmity of his age: yet he hath ever but slenderly known himself.

REGAN Such unconstant starts are we like to have from him as this of Kent's banishment.

REGAN We shall further think of it.

GONERIL We must do something, and i'th'heat. Exeunt

Act 1 Scene 2 running scene 2

Gr 5-9

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Kenneth Branagh, a leading figure in film, TV and on stage, is equally at home with classic and contemporary subjects. 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The play was written between 1603 and 1606 and later revised. Shakespeare's earlier version, The True Chronicle of the History of the Life and Death of King Lear and His Three Daughters, was published in quarto in 1608. The Tragedy of King Lear, a more theatrical version, was included in the 1623 First Folio. Modern editors usually conflate the two, though some insist that each version has its individual integrity that should be preserved.

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Shakespeare may have been inspired to write King Lear by the uncertainly that accompanied the last years of Queen Elizabeth I’s life, as she left no children or nieces and nephews to inherit the throne.

King Lear is the King of Britain. He decides to “retire” as king and divide his land holdings among his three daughters – Goneril, Regan, and Cordelia. What they will inherit is dependent on how skillfully the daughters can publically proclaim love for their father. Goneril and Regan, who are married to the Duke of Albany and the Duke of Cornwall respectively, have no problem with this, and speak enthusiastically about their love for their father. Cordelia, the youngest girl, refuses to flatter her father. She is his favorite daughter, and in his disappointment, Lear cuts her off without a penny and banishes her. She marries the King of France who is willing to accept her without an inheritance. Lear’s friend and ally, the Earl of Kent, defends Cordelia and he is sent off in disgrace; he returns to the court in disguise. Lear’s kingdom is now split between his two older daughters.

This annotated edition includes a biography and critical essay.","The dates of the writing and first performance of King Lear are unknown, although it is known that King James I viewed the play on December 26, 1606. Shakespeare may have been inspired to write King Lear by the uncertainly that accompanied the last years of Queen Elizabeth I’s life, as she left no children or nieces and nephews to inherit the throne.King Lear is the King of Britain. He decides to “retire” as king and divide his land holdings among his three daughters – Goneril, Regan, and Cordelia. What they will inherit is dependent on how skillfully the daughters can publically proclaim love for their father. Goneril and Regan, who are married to the Duke of Albany and the Duke of Cornwall respectively, have no problem with this, and speak enthusiastically about their love for their father. Cordelia, the youngest girl, refuses to flatter her father. 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Chapter One

Act 1 Scene 1 running scene 1

Enter Kent, Gloucester and Edmund

KENT I thought the king had more affected the Duke of Albany than Cornwall.

KENT Is not this your son, my lord?

GLOUCESTER 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.

GLOUCESTER Sir, this young fellow's mother could; whereupon she grew round-wombed and had indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault?

KENT I cannot wish the fault undone, the issue of it being so proper.

EDMUND No, my lord.

GLOUCESTER My lord of Kent: remember him hereafter as my honourable friend.

EDMUND My services to your lordship.

KENT I must love you, and sue to know you better.

EDMUND Sir, I shall study deserving.

GLOUCESTER He hath been out nine years, and away he shall again. The king is coming.

Sennet. Enter [one bearing a coronet, then] King Lear, Cornwall, Albany, Goneril, Regan, Cordelia and Attendants

LEAR Attend the lords of France and Burgundy, Gloucester.

GLOUCESTER I shall, my lord. Exit

LEAR Meantime we shall express our darker purpose.

Give me the map there. Kent or an Attendant gives Lear a map

Know that we have divided

In three our kingdom, and 'tis our fast intent

To shake all cares and business from our age,

Conferring them on younger strengths while we

Unburdened crawl toward death. Our son of

Cornwall,

And you our no less loving son of Albany,

We have this hour a constant will to publish

Our daughters' several dowers, that future strife

May be prevented now. The princes, France and

Burgundy,

Great rivals in our youngest daughter's love,

Long in our court have made their amorous sojourn

And here are to be answered. Tell me, my

daughters -

Since now we will divest us both of rule,

Interest of territory, cares of state -

Which of you shall we say doth love us most,

That we our largest bounty may extend

Where nature doth with merit challenge? Goneril,

Our eldest born, speak first.

GONERIL Sir, I love you more than word can wield the matter,

Dearer than eyesight, space and liberty,

Beyond what can be valued rich or rare,

No less than life, with grace, health, beauty, honour:

As much as child e'er loved or father found:

A love that makes breath poor and speech unable:

Beyond all manner of so much I love you.

CORDELIA What shall Cordelia speak? Love and be silent. Aside

LEAR Of all these bounds, even from this line to this, Points With shadowy forests and with champaigns riched, to the map

With plenteous rivers and wide-skirted meads,

We make thee lady. To thine and Albany's issues

Be this perpetual.- What says our second daughter?

Our dearest Regan, wife of Cornwall?

REGAN I am made of that self-mettle as my sister,

And prize me at her worth. In my true heart,

I find she names my very deed of love:

Only she comes too short, that I profess

Myself an enemy to all other joys

Which the most precious square of sense professes,

And find I am alone felicitate

In your dear highness' love.

CORDELIA Then poor Cordelia: Aside

And yet not so, since I am sure my love's

More ponderous 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 conferred on Goneril.- Now, our joy, To Cordelia

Although our last and least, to whose young love

The vines of France and milk of Burgundy

Strive to be interessed, what can you say to draw

A third more opulent than your sisters'? Speak.

CORDELIA Nothing, my lord.

LEAR Nothing?

CORDELIA Nothing.

LEAR Nothing will come of nothing: speak again.

CORDELIA Unhappy that I am, I cannot heave

My heart into my mouth: I love your majesty

According to my bond, no more nor less.

LEAR How, how, Cordelia? Mend your speech a little,

Lest you may mar your fortunes.

CORDELIA Good my lord,

You have begot me, bred me, loved me:

I return those duties back as are right fit,

Obey you, love you and most honour you.

Why have my sisters husbands if they say

They love you all? Happily when I shall wed,

That lord whose hand must take my plight shall

carry

Half my love with him, half my care and duty:

Sure I shall never marry like my sisters.

LEAR But goes thy heart with this?

CORDELIA Ay, my good lord.

LEAR So young and so untender?

CORDELIA So young, my lord, and true.

LEAR Let it be so: thy truth then be thy dower,

For by the sacred radiance of the sun,

The mysteries of Hecate and the night,

By all the operation of the orbs

From whom we do exist and cease to be,

Here I disclaim all my paternal care,

Propinquity and property of blood,

And as a stranger to my heart and me

Hold thee from this for ever. The barbarous Scythian,

Or he that makes his generation messes

To gorge his appetite, shall to my bosom

Be as well neighboured, pitied and relieved

As thou my sometime daughter.

KENT Good my liege-

LEAR Peace, Kent:

Come not between the dragon and his wrath.

I loved her most, and thought to set my rest

On her kind nursery.- Hence, and avoid my sight!- To

So be my grave my peace, as here I give Cordelia

Her father's heart from her. Call France. Who stirs?

Call Burgundy.- Cornwall and Albany,

[Exit Attendant]

With my two daughters' dowers digest the third.

Let pride, which she calls plainness, marry her.

I do invest you jointly with my power,

Pre-eminence, and all the large effects

That troop with majesty. Ourself by monthly course,

With reservation of an hundred knights

By you to be sustained, shall our abode

Make with you by due turn: only we shall retain

The name and all th'addition to a king: the sway,

Revenue, execution of the rest,

Belovèd sons, be yours, which to confirm,

This coronet part between you. Gives them coronet to break in half

KENT Royal Lear,

Whom I have ever honoured as my king,

Loved as my father, as my master followed,

As my great patron thought on in my prayers-

LEAR The bow is bent and drawn, make from the shaft.

KENT Let it fall rather, though the fork invade

The region of my heart: be Kent unmannerly

When Lear is mad. What wouldst thou do, old man?

Think'st thou that duty shall have dread to speak

When power to flattery bows? To plainness honour's

bound

When majesty falls to folly. Reserve thy state,

And in thy best consideration check

This hideous rashness. Answer my life my

judgement:

Thy youngest daughter does not love thee least,

Nor are those empty-hearted whose low sounds

Reverb no hollowness.

LEAR Kent, on thy life, no more.

KENT My life I never held but as pawn

To wage against thine enemies, ne'er fear to lose it,

Thy safety being motive.

LEAR Out of my sight!

KENT See better, Lear, and let me still remain

The true blank of thine eye.

LEAR Now, by Apollo-

KENT Now, by Apollo, king,

Thou swear'st thy gods in vain.

LEAR O, vassal! Miscreant! Puts his hand on his sword or attacks Kent

ALBANY and CORDELIA Dear sir, forbear.

KENT Kill thy physician, and thy fee bestow

Upon the foul disease. Revoke thy gift,

Or whilst I can vent clamour from my throat,

I'll tell thee thou dost evil.

LEAR Hear me, recreant, on thine allegiance hear me!

That thou hast sought to make us break our vows,

Which we durst never yet, and with strained pride

To come betwixt our sentences and our power,

Which nor our nature nor our place can bear,

Our potency made good, take thy reward:

Five days we do allot thee for provision

To shield thee from disasters of the world,

And on the sixth to turn thy hated back

Upon our kingdom: if on the next day following

Thy banished trunk be found in our dominions,

The moment is thy death. Away! By Jupiter,

This shall not be revoked.

KENT Fare thee well, king: sith thus thou wilt appear,

Freedom lives hence and banishment is here.-

The gods to their dear shelter take thee, maid, To Cordelia

That justly think'st, and hast most rightly said.-

And your large speeches may your deeds approve, To Goneril

That good effects may spring from words of love. and Regan

Thus Kent, O princes, bids you all adieu.

He'll shape his old course in a country new. Exit

Flourish. Enter Gloucester with France and Burgundy, Attendants

CORDELIA Here's France and Burgundy, my noble lord.

LEAR My lord of Burgundy,

We first address toward you, who with this king

Hath rivalled for our daughter: what in the least

Will you require in present dower with her,

Or cease your quest of love?

BURGUNDY Most royal majesty,

I crave no more than hath your highness offered,

Nor will you tender less.

LEAR Right noble Burgundy,

When she was dear to us, we did hold her so,

But now her price is fallen. Sir, there she stands:

If aught within that little seeming substance,

Or all of it, with our displeasure pieced,

And nothing more, may fitly like your grace,

She's there, and she is yours.

BURGUNDY I know no answer.

LEAR Will you, with those infirmities she owes,

Unfriended, new-adopted to our hate,

Dowered with our curse and strangered with our

oath,

Take her or leave her?

BURGUNDY Pardon me, royal sir:

Election makes not up in such conditions.

LEAR Then leave her, sir, for by the power that made me,

I tell you all her wealth.- For you, great king, To France

I would not from your love make such a stray

To match you where I hate, therefore beseech you

T'avert your liking a more worthier way

Than on a wretch whom nature is ashamed

Almost t'acknowledge hers.

FRANCE This is most strange,

That she whom even but now was your object,

The argument of your praise, balm of your age,

The best, the dearest, should in this trice of time

Commit a thing so monstrous to dismantle

So many folds of favour. Sure her offence

Must be of such unnatural degree

That monsters it, or your fore-vouched affection

Fall into taint, which to believe of her

Must be a faith that reason without miracle

Should never plant in me.

CORDELIA I yet beseech your majesty -

If for I want that glib and oily art

To speak and purpose not, since what I will intend

I'll do't before I speak - that you make known

It is no vicious blot, murder, or foulness,

No unchaste action or dishonoured step

That hath deprived me of your grace and favour,

But even for want of that for which I am richer:

A still-soliciting eye and such a tongue

That I am glad I have not, though not to have it

Hath lost me in your liking.

LEAR Better thou hadst

Not been born than not t'have pleased me better.

FRANCE Is it but this? A tardiness in nature,

Which often leaves the history unspoke

That it intends to do? My lord of Burgundy,

What say you to the lady? Love's not love

When it is mingled with regards that stands

Aloof from th'entire point. Will you have her?

She is herself a dowry.

BURGUNDY Royal king, To Lear

Give but that portion which yourself proposed,

And here I take Cordelia by the hand,

Duchess of Burgundy.

LEAR Nothing: I have sworn: I am firm.

BURGUNDY I am sorry, then, you have so lost a father To Cordelia

That you must lose a husband.

CORDELIA Peace be with Burgundy.

Since that respect and fortunes are his love,

I shall not be his wife.

FRANCE Fairest Cordelia, that art most rich being poor,

Most choice forsaken, and most loved despised,

Thee and thy virtues here I seize upon:

Be it lawful, I take up what's cast away. Takes her hand

Gods, gods! 'Tis strange that from their cold'st neglect

My love should kindle to inflamed respect.-

Thy dowerless daughter, king, thrown to my chance,

Is queen of us, of ours and our fair France:

Not all the dukes of wat'rish Burgundy

Can buy this unprized precious maid of me.-

Bid them farewell, Cordelia, though unkind.

Thou losest here, a better where to find.

LEAR Thou hast her, France: let her be thine, for we

Have no such daughter, nor shall ever see

That face of hers again. Therefore be gone

Without our grace, our love, our benison.

Come, noble Burgundy.

Flourish. Exeunt. [France and the sisters remain]

FRANCE Bid farewell to your sisters.

CORDELIA The jewels of our father, with washèd eyes

Cordelia leaves you. I know you what you are,

And like a sister am most loath to call

Your faults as they are named. Love well our father:

To your professèd bosoms I commit him,

But yet, alas, stood I within his grace,

I would prefer him to a better place.

So farewell to you both.

REGAN Prescribe not us our duty.

GONERIL Let your study

Be to content your lord who hath received you

At fortune's alms. You have obedience scanted,

And well are worth the want that you have wanted.

CORDELIA Time shall unfold what plighted cunning hides:

Who covers faults, at last with shame derides.

Well may you prosper.

FRANCE Come, my fair Cordelia. Exit France and Cordelia

GONERIL Sister, it is not little I have to say of what most nearly appertains to us both. I think our father will hence tonight.

REGAN That's most certain, and with you: next month with us.

REGAN 'Tis the infirmity of his age: yet he hath ever but slenderly known himself.

REGAN Such unconstant starts are we like to have from him as this of Kent's banishment.

REGAN We shall further think of it.

GONERIL We must do something, and i'th'heat. Exeunt

Act 1 Scene 2 running scene 2

Gr 5-9

King Lear: Ignatius Press Critical Editions

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