King Lear

Act 1, Scene 1

Enter KENT, GLOUCESTER, and EDMUND

KENT, GLOUCESTER, and EDMUND enter.

KENT

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

KENT

I thought the king preferred the Duke of Albany to the Duke of 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 equalities are so weighed that curiosity in neither can make choice of either’s moiety.

GLOUCESTER

We used to think so too. But the way he’s divided the kingdom recently, nobody can tell which of the dukes he favors more. He’s split the kingdom so evenly that it’s impossible to see any indication of favoritism.

KENT

(indicating EDMUND) Is not this your son, my lord?

KENT

(pointing to EDMUND) Isn’t 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 it.

GLOUCESTER

Yes, I’ve been responsible for his upbringing. I’ve had to acknowledge that he’s my son so many times that now I can do it without embarrassment.

KENT

I cannot conceive you.

KENT

I can’t conceive of what you mean.

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?

GLOUCESTER

You can’t conceive? Well, this guy’s mother could conceive him all to well. She grew a big belly and had a baby for her crib before she had a husband for her bed. Do you smell something naughty?

KENT

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

KENT

Well, I wouldn’t want to undo the naughtiness, since the boy turned out so well.

GLOUCESTER

But I have, sir, a son by order of law, some year older 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?

GLOUCESTER

But I have a legitimate son a few years older than this one, and I don’t love him any more than I love my bastard. Edmund may have snuck into the world a little before his time, but his mother was pretty, we had a fun time making him, and now I have to acknowledge the guy as my son.—Do you know this gentleman, Edmund?

EDMUND

No, my lord.

EDMUND

No, I don’t, my lord.

GLOUCESTER

(to EDMUND) My lord of Kent. Remember him hereafter as my honorable friend.

GLOUCESTER

(to EDMUND) This is Lord Kent. Remember him as my friend and an honorable man.

EDMUND

My services to your lordship.

EDMUND

Very pleased to meet you, my lord.

KENT

I must love you and sue to know you better.

KENT

I look forward to getting to know you better.

EDMUND

Sir, I shall study deserving.

EDMUND

I’ll try to make myself worth your knowledge.

GLOUCESTER

He hath been out nine years, and away he shall again.

GLOUCESTER

He’s been gone for nine years and he’s leaving again soon.

Sennet.

Trumpets announce the arrival of King LEAR.

The king is coming.

The king is coming.

Enter one bearing a coronet, then King LEAR, then the Dukes of CORNWALL and ALBANY, next GONERIL, REGAN, CORDELIA, and attendants

A man bearing a crown enters, followed by KING LEAR, the Dukes of CORNWALL and ALBANY, then GONERIL, REGAN, CORDELIA, and attendants.

LEAR

Attend the lords of France and Burgundy, Gloucester.

LEAR

Go escort the lords of France and Burgundy, Gloucester.

GLOUCESTER

I shall, my lord.

GLOUCESTER

Yes, my lord.

Exit GLOUCESTERLEAR

GLOUCESTER exits.

LEAR

Meantime we shall express our darker purpose.—

Give me the map there.—Know that we have divided

In three our kingdom, and ’tis our fast intent

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 two great 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.

LEAR

In the meantime I’ll get down to my real business.—Hand me that map over there.—I hereby announce that I’ve divided my kingdom into three parts, which I’m handing over to the younger generation so I can enjoy a little rest and peace of mind in my old age.—Cornwall and Albany, my loving sons-in-law, I now want to announce publicly what each of my daughters will inherit, to avoid hostilities after I die. The two great princes of France and Burgundy, vying for the hand of my youngest Cordelia, have been at my court a long time and will soon have their answers.—My daughters, since I’m about to give up my throne and the worries that go along with it, tell me which one of you loves me most, so that I can give my largest gift to the one who deserves it most.—Goneril, my oldest daughter, you speak first.

GONERIL

Sir, I do love you more than words 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, honor,

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.

GONERIL

Sir, I love you more than words can say. I love you more than eyesight, space, and freedom, beyond wealth or anything of value. I love you as much as life itself, and as much as status, health, beauty, or honor. I love you as much as any child has ever loved her father, with a love too deep to be spoken of. I love you more than any answer to the question “How much?”

CORDELIA

(aside) What shall Cordelia speak? Love, and be silent.

CORDELIA

(to herself) What will I say? I can only love and be silent.

LEAR

Of all these bounds, even from this line to this,

With shadowy forests and with champains riched,

With plenteous rivers and wide-skirted meads,

We make thee lady. To thine and Albany’s issue

Be this perpetual.—What says our second daughter,

Our dearest Regan, wife of Cornwall? Speak.

LEAR

I give you all this land, from this line to that one—dense forests, fertile fields, rivers rich with fish, wide meadows. This land will belong to your and Albany’s children forever.—And now what does my second daughter Regan, the wife of Cornwall, have to say? Tell me.

REGAN

Sir, 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 possesses.

And find I am alone felicitate

In your dear highness’ love.

REGAN

Sir, I’m made of the same stuff as my sister and consider myself just as good as she is. She’s described my feelings of love for you precisely, but her description falls a little short of the truth. I reject completely any joy except my love for you, and I find that only your majesty’s love makes me happy.

CORDELIA

(aside) Then poor Cordelia!

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

More ponderous than my tongue.

CORDELIA

(to herself) Poor me, what am I going to say now? But I’m not poor in love—my love is bigger than my words are.

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.—But now, our joy,

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.

LEAR

You and your heirs hereby receive this large third of our lovely kingdom, no smaller in area or value than what I gave Goneril.—Now, you, my youngest daughter, my joy, courted by the rich rulers of France and Burgundy, what can you tell me that will make me give you a bigger part of my kingdom than I gave your sisters? Speak.

CORDELIA

Nothing, my lord.

CORDELIA

Nothing, my lord.

LEAR

Nothing?

LEAR

Nothing?

CORDELIA

Nothing.

CORDELIA

Nothing.

LEAR

How? Nothing will come of nothing. Speak again.

LEAR

Come on, “nothing” will get you nothing. Try 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.

CORDELIA

I’m unlucky. I don’t have a talent for putting my heart’s feelings into words. I love you as a child should love her father, neither more nor less.

LEAR

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

Lest you may mar your fortunes.

LEAR

What are you saying, Cordelia? Revise your statement, or you may damage your inheritance.

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 honor you.

Why have my sisters husbands if they say

They love you all? Haply 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,

To love my father all.

CORDELIA

My lord, you brought me up and loved me, and I’m giving back just as I should: I obey you, love you, and honor you. How can my sisters speak the truth when they say they love only you? Don’t they love their husbands too? Hopefully when I get married, I’ll give my husband half my love and half my sense of duty. I’m sure I’ll never get married in the way my sisters say they’re married, loving their father only.

LEAR

But goes thy heart with this?

LEAR

But do you mean what you’re saying?

CORDELIA

Ay, good my lord.

CORDELIA

Yes, my lord.

LEAR

So young and so untender?

LEAR

So young and so cruel?

CORDELIA

So young, my lord, and true.

CORDELIA

So young, my lord, and honest.

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 neighbored, pitied, and relieved

As thou my sometime daughter.

LEAR

Then that’s the way it’ll be. The truth will be all the inheritance you get. I swear by the sacred sun, by the mysterious moon, and by all the planets that rule our lives, that I disown you now as my daughter. As of now, there are no family ties between us, and I consider you a stranger to me. Foreign savages who eat their own children for dinner will be as close to my heart as you, ex-daughter of mine.

KENT

Good my liege—

KENT

But sir—

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.—

(to CORDELIA)

Hence, and avoid my sight!—

So be my grave my peace as here I give

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

Call Burgundy.—

LEAR

Be quiet, Kent. Don’t get in my way when I’m angry. I loved Cordelia most of all and planned to spend my old age with her taking care of me. (to CORDELIA) Go away! Get out of my sight!—I guess if she doesn’t love her father, then I’ll only have peace when I’m dead.—Call the King of France. Why is nobody doing anything? Call the Duke of Burgundy.

Exeunt several attendants

Several attendants exit.

Cornwall and Albany,

With my two daughters’ dowers digest this third.

Let pride, which she calls plainness, marry her.

I do invest you jointly with my power,

Preeminence, 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 turns. Only shall we retain

The name, and all th’ additions to a king.

The sway, revenue, execution of the rest,

Belovèd sons, be yours; which to confirm,

This coronet part between you.

(gives CORNWALL and ALBANY the coronet)

Cornwall and Albany, you and your wives can divide this last third of my kingdom between you. If she wants to be proud, or “honest,” as she calls it, she can just marry her own pride. I hereby grant to you two my crown and all the privileges that kingship brings. I’ll live one month with one of you, the next month with the other one. All I ask is that you provide me with a hundred knights for my own entourage. I’ll keep only the title of king, but you’ll have everything else: all the authority and income that come with kingship. To confirm all this, take this crown to share between yourselves. (he gives CORNWALL and ALBANY the crown)

KENT

Royal Lear,

Whom I have ever honored as my king,

Loved as my father, as my master followed,

As my great patron thought on in my prayers—

KENT

King Lear, I’ve always honored you as king, loved you as my father, obeyed you as my master, and thanked you in my prayers—

LEAR

The bow is bent and drawn. Make from the shaft.

LEAR

I’m furious and ready to snap. Stay away or else I’ll take my anger out on you.

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 honor’s bound

When majesty falls to folly. Reserve thy state,

And in thy best consideration check

This hideous rashness. Answer my life my judgment,

Thy youngest daughter does not love thee least,

Nor are those empty-hearted whose low sound

Reverbs no hollowness.

KENT

Let your anger fall on me then, even if its sharpness pierces my heart. Kent can speak rudely when Lear goes mad. What are you doing, old man? When powerful kings cave in to flatterers, do you think loyal men will be afraid to speak out against it? When a majestic king starts acting silly, then it’s my duty to be blunt. Hold on to your crown and use your better judgment to rethink this rash decision. On my life I swear to you that your youngest daughter doesn’t love you least. A loud mouth often points to an empty heart, and just because she’s quiet doesn’t mean she’s unloving.

LEAR

Kent, on thy life, no more.

LEAR

Kent, if you want to stay alive, stop talking.

KENT

My life I never held but as a pawn

To wage against thy enemies, nor fear to lose it,

Thy safety being motive.

KENT

I never considered my life as anything more than a chess pawn for you to play off against your enemies. I’m not afraid to lose it if it helps protect you.

LEAR

Out of my sight!

LEAR

Get out of my sight!

KENT

See better, Lear, and let me still remain

The true blank of thine eye.

KENT

Learn to see better, Lear, and let me stay here where you can look to me for good advice.

LEAR

Now, by Apollo—

LEAR

Now, I swear by Apollo—

KENT

Now, by Apollo, King,

Thou swear’st thy gods in vain.

KENT

By Apollo, King, you’re taking the names of the gods in vain.

LEAR

O vassal! Miscreant!

LEAR

Oh, you lowlife! Scum!

ALBANY, CORNWALL

Dear sir, forbear!

ALBANY, CORNWALL

Please stop, sir.

KENT

Do, kill thy physician, and the fee bestow

Upon thy foul disease. Revoke thy gift,

Or whilst I can vent clamor from my throat,

I’ll tell thee thou dost evil.

KENT

Sure, kill the doctor who’s trying to cure you and pay your disease. Take back your gift to Albany and Cornwall. If you don’t, then as long as I’m able to speak I’ll keep telling you you’ve done a bad, bad thing.

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 sentence 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 diseases 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.

LEAR

Listen to me, you traitor. You’ll pay the price for trying to make me go back on the vow I made when I bequeathed my kingdom to them. I’ve never broken a vow yet. You tried to make me revise my judgment on my youngest daughter, disrespecting my power as king—which I can’t put up with either as a ruler or as a person. This is your punishment: I’ll give you five days to gather together what you need to survive, then on the sixth day you’ll leave this kingdom that hates you. If the day after that you’re found in my kingdom, you die. Now get out of here! I swear by Jupiter I’ll never revoke this punishment.

KENT

Why, fare thee well, King. Sith thus thou wilt appear,

Freedom lives hence, and banishment is here.

(to CORDELIA)

The gods to their dear shelter take thee, maid,

That justly think’st and hast most rightly said!

(to REGAN and GONERIL)

And your large speeches may your deeds approve,

That good effects may spring from words of love.—

Thus Kent, O princes, bids you all adieu.

He’ll shape his old course in a country new.

KENT

Farewell, King. If this is how you act, it’s clear that freedom has been banished from this kingdom.(to CORDELIA) I hope the gods will protect you, my dear girl, for thinking fairly and speaking correctly. (to REGAN and GONERIL) And you two, I hope your actions carry out your grand promises of love, so that big words can bring big results. Farewell to all of you. I’ll carry on my old life in a new land.

Exit KENT

KENT exits.

Flourish. Enter GLOUCESTER with the King of FRANCE, the Duke of BURGUNDY, and attendants

Trumpets play. GLOUCESTER enters with the King of FRANCE, the Duke of BURGUNDY, and attendants.

GLOUCESTER

Here’s France and Burgundy, my noble lord.

GLOUCESTER

Here are the rulers of France and Burgundy, my lord.

LEAR

My lord of Burgundy.

We first address towards you, who with this king

Hath rivaled for our daughter. What in the least

Will you require in present dower with her

Or cease your quest of love?

LEAR

My lord the ruler of Burgundy, I’ll speak to you first. You’ve been competing with this king for my daughter. What’s the least that you will settle for as a dowry?

BURGUNDY

Most royal majesty,

I crave no more than hath your highness offered.

Nor will you tender less.

BURGUNDY

Your highness, I want nothing more than what you’ve already offered. I know you’ll offer nothing less than that.

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.

LEAR

Burgundy, I valued her highly when I cared about her. But now her price has fallen. There she is, over there. If there’s anything you like about that worthless little thing, then go for it. She’s all yours. But what you see is what you get—her only dowry is my disapproval. There she is.

BURGUNDY

I know no answer.

BURGUNDY

I don’t know what to say.

LEAR

Sir, 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?

LEAR

She’s got big flaws. She has no friends or protectors. I no longer love her. Her only dowry is my curse and banishment. So do you take her or leave her?

BURGUNDY

Pardon me, royal sir.

Election makes not up in such conditions.

BURGUNDY

I’m sorry, sir, but nobody can make a choice like this in such circumstances.

LEAR

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

I tell you all her wealth.

(to FRANCE) For you, great King,

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.

LEAR

Then leave her, sir. I swear to God she’s not worth anything more than what I told you. (to FRANCE) And as for you, great King of France, I’d never insult our friendship by encouraging you to marry a girl I hate. So I beg you to look around for a better match than this wretched creature that you can barely call human.

FRANCE

This is most strange,

That she that even but now was your best object—

The argument of your praise, balm of your age,

Most best, most dearest—should in this trice of time

Commit a thing so monstrous to dismantle

So many folds of favor. Sure, her offense

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

Could never plant in me.

FRANCE

This is very odd. Until very recently she was your favorite, the object of all your praise and the delight of your old age. It’s strange that someone so dear to you could do anything so horrible as to warrant this sudden hatred. Her crime must be extreme and monstrous, or else your earlier love for her wasn’t as true as it seemed. But it’d take a miracle to make me believe she could do anything that horrible.

CORDELIA

(to LEAR) I yet beseech your majesty,

If for I want that glib and oily art

To speak and purpose not—since what I well intend,

I’ll do ’t before I speak—that you make known

It is no vicious blot, murder, or foulness,

No unchaste action or dishonored step

That hath deprived me of your grace and favor,

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

A still-soliciting eye and such a tongue

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

Hath lost me in your liking.

CORDELIA

(to LEAR) Please, your majesty, I don’t have a glib way with words and I only say what I mean. If I decide to do something, then I do it instead of talking about it. So I beg your majesty to let people know that it wasn’t because I did something atrocious that I fell from your favor. I didn’t murder or commit any immoral or lustful act. I’m out of favor simply because I’m not a fortune-hunter and I don’t have a smooth way with words—and I’m a better person because of it, even though it has cost me your love.

LEAR

Go to, go to. Better thou

Hadst not been born than not t’ have pleased me better.

LEAR

Enough. It would’ve been better for you not to have been born at all than to displease me as you did.

FRANCE

Is it no more 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.

FRANCE

You mean this is the whole problem, that she is shy and hasn’t said everything she means to say and do?—My lord of Burgundy, what do you have to say to this lady? Love’s not love when it gets mixed up with irrelevant outside matters. Will you marry her? She herself is as valuable as any dowry could ever be.

BURGUNDY

(to LEAR) Royal King,

Give but that portion which yourself proposed,

And here I take Cordelia by the hand,

Duchess of Burgundy.

BURGUNDY

(to LEAR) King, just give me the dowry you promised me, and I’ll make Cordelia the Duchess of Burgundy right away.

LEAR

Nothing. I have sworn. I am firm.

LEAR

No, I’ll give nothing. I won’t budge on that.

BURGUNDY

(to CORDELIA) I am sorry then. You have so lost a father

That you must lose a husband.

BURGUNDY

(to CORDELIA) In that case, I’m sorry you have to lose me as a husband because you lost the king as a father.

CORDELIA

Peace be with Burgundy.

Since that respects and fortunes are his love,

I shall not be his wife.

CORDELIA

Peace to you, my lord of Burgundy. Since you love money and power so much, I won’t be your 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.

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 waterish Burgundy

Can buy this unprized precious maid of me.—

Bid them farewell, Cordelia, though unkind.

Thou losest here, a better where to find.

FRANCE

Beautiful Cordelia, you’re all the richer now that you’re poor. You’re more valuable now that you’re rejected and more loved now that you’re hated. I’ll take you and your wonderful virtues here and now, if it’s okay that I’m picking up what others have thrown away. It’s so strange that in neglecting you so cruelly, the gods have made me love you so dearly.—King, the daughter you’ve rejected is now mine, as Queen of France. No Duke of spineless Burgundy can take this treasure of a girl from me now.—Say goodbye to them, Cordelia, even though they’ve been unkind to you. You’ll find a much better place in France than what you’re giving up here.

LEAR

Thou hast her, France. Let her be thine, for we

Have no such daughter, nor shall ever see

That face of hers again. (to CORDELIA) Therefore be gone

Without our grace, our love, our benison.—

Come, noble Burgundy.

LEAR

She’s yours, King of France. Take her. She’s no longer my daughter, and I’ll never see her face again. (to CORDELIA) So get out of here. Leave without any blessing or love from me.—Come with me, Burgundy.

Flourish

Trumpets play.

Exeunt all but FRANCE, GONERIL, REGAN, and CORDELIA

Everyone exits except FRANCE, GONERIL, REGAN, and CORDELIA.

FRANCE

Bid farewell to your sisters.

FRANCE

Say goodbye to your sisters.

CORDELIA

The jewels of our father, with washed 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.

CORDELIA

Sisters, you whom our father loves so dearly, I leave you now with tears in my eyes. I know you for what you really are, but as your sister I’m reluctant to criticize you. Take good care of our father and show him the love that you have professed. I leave him in your care—but oh, if only I were still in his favor I could arrange for better care for him. Goodbye to you both.

REGAN

Prescribe not us our duty.

REGAN

Don’t tell us what our duty is.

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.

GONERIL

You should focus instead on pleasing your husband, who’s taken you in as an act of charity. You’ve failed to obey your father and you deserve to be deprived of everything that’s been taken away from you.

CORDELIA

Time shall unfold what plighted cunning hides,

Who covers faults at last with shame derides.

Well may you prosper.

CORDELIA

Time will tell what you’ve got up your sleeve. You can be deceitful in the short term, but eventually truth will come out. Have a good life.

FRANCE

Come, my fair Cordelia.

FRANCE

Come with me, my dear Cordelia.

Exeunt FRANCE and CORDELIA

FRANCE and CORDELIA exit.

GONERIL

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

GONERIL

Sister, I have a lot to say about things that concern us both. I think that our father will leave here tonight.

REGAN

That’s most certain, and with you. Next month with us.

REGAN

Yes, I’m sure he will—to stay with you. Next month he’ll stay 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 judgment he hath now cast her off appears too grossly.

GONERIL

He’s so flighty in his old age, as we keep noticing. He has always loved Cordelia best, and his bad judgment in disowning her now is obvious.

REGAN

’Tis the infirmity of his age. Yet he hath ever but slenderly known himself.

REGAN

He’s going senile. But then again he’s never really understood his own feelings very well.

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.

GONERIL

Yes, he was hotheaded even in the prime of his life. Now that he’s old, we can expect to have to deal not only with his old character flaws, which have turned into deep-rooted habits, but also with the uncontrollable crabbiness that comes with old age.

REGAN

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

REGAN

We’ll probably witness many more outbursts from him, like banishing Kent.

GONERIL

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

GONERIL

There’s still the King of France’s farewell ceremony. Let’s put our heads together. If our father continues to use his authority as usual, then his recent abdication of the kingdom will just hurt us.

REGAN

We shall further think on ’t.

REGAN

We’ll have to think about it carefully.

GONERIL

We must do something, and i’ th’ heat.

GONERIL

We have to strike while the iron’s hot.

Exeunt

They exit.

Act 1, Scene 2

Enter EDMUND the bastard, with a letter

EDMUND enters with a letter.

EDMUND

Thou, nature, art my goddess. To thy law

My services are bound. Wherefore should I

Stand in the plague of custom and permit

The curiosity of nations to deprive me

For that I am some twelve or fourteen moonshines

Lag of a brother? Why “bastard”? Wherefore “base”?

When my dimensions are as well compact,

My mind as generous, and my shape as true

As honest madam’s issue? Why brand they us

With “base,” with “baseness,” “bastardy,” “base,” “base”—

Who in the lusty stealth of nature take

More composition and fierce quality

Than doth within a dull, stale, tirèd bed

Go to th’ creating a whole tribe of fops

Got ’tween a sleep and wake? Well then,

Legitimate Edgar, I must have your land.

Our father’s love is to the bastard Edmund

As to the legitimate.—Fine word, “legitimate”!—

Well, my legitimate, if this letter speed

And my invention thrive, Edmund the base

Shall top th’ legitimate. I grow, I prosper.

Now, gods, stand up for bastards!

EDMUND

I only worship what’s natural, not what’s manmade. Why should I let myself be tortured by manmade social customs that deprive me of my rights simply because I was born twelve or fourteen months later than my older brother? Why do they call me “bastard” and “lowlife” when I’m just as gifted in mind and body as legitimate children? Why do they call us bastards “lowlifes”? Always “lowlife,” “bastard,” “lowlife,” “lowlife.” At least we bastards were conceived in a moment of passionate lust rather than in a dull, tired marriage bed, where half-sleeping parents monotonously churn out a bunch of sissy kids. All right then, legitimate brother Edgar, I have to have your lands. Our father loves me just as much as the legitimate Edgar. What a nice word that is, “legitimate”! Well, my legitimate Edgar, if this letter works and my plan succeeds, Edmund the lowlife will beat the legitimate. Look out, I’m on my way up. Three cheers for bastards!

Enter GLOUCESTER EDMUND looks over his letter

GLOUCESTER enters. EDMUND looks over his letter.

GLOUCESTER

Kent banished thus? And France in choler parted?

And the king gone tonight, prescribed his power

Confined to exhibition? All this done

Upon the gad?—Edmund, how now? What news?

GLOUCESTER

Kent’s been banished just like that? And the King of France gone in a huff? And King Lear’s abdicated his authority, making his kingship a ceremonial title only? All this so suddenly?—Edmund, what’s going on? What’s the news?

EDMUND

(pocketing the letter) So please your lordship, none.

EDMUND

(pocketing the letter) No news, my lord.

GLOUCESTER

Why so earnestly seek you to put up that letter?

GLOUCESTER

Why are you hiding that letter?

EDMUND

I know no news, my lord.

EDMUND

I don’t have any news to report, my lord.

GLOUCESTER

What paper were you reading?

GLOUCESTER

What’s that paper you were reading?

EDMUND

Nothing, my lord.

EDMUND

It’s nothing, my lord.

GLOUCESTER

No? What needed, then, that terrible dispatch of it into your pocket? The quality of nothing hath not such need to hide itself. Let’s see.—Come, if it be nothing, I shall not need spectacles.

GLOUCESTER

No? Then why did you have to stick it in your pocket in such a hurry? If it were nothing, you wouldn’t need to hide it. Let’s see it. Come on, if it’s nothing, I won’t need glasses to read it.

EDMUND

I beseech you, sir, pardon me. It is a letter from my brother that I have not all o’er-read. And for so much as I have perused, I find it not fit for your o’erlooking.

EDMUND

Please, sir, I beg you. It’s a letter from my brother that I haven’t finished reading yet. But judging from the bit I have read, it’s not fit for you to see.

GLOUCESTER

Give me the letter, sir.

GLOUCESTER

Give me that letter, sir.

EDMUND

I shall offend, either to detain or give it. The contents, as in part I understand them, are to blame.

EDMUND

Now I’ll offend you whether I give it to you or not. The problem is in what the letter says, as far as I can tell.

GLOUCESTER

(taking the letter) Let’s see, let’s see.

GLOUCESTER

(taking the letter) Let’s see, let’s see.

EDMUND

I hope, for my brother’s justification, he wrote this but as an essay or taste of my virtue.

EDMUND

I hope for my brother’s sake that he just wrote it to test my honor.

GLOUCESTER

(reads)

“This policy and reverence of age makes the world bitter to the best of our times, keeps our fortunes from us till our oldness cannot relish them. I begin to find an idle and fond bondage in the oppression of aged tyranny, who sways not as it hath power but as it is suffered.

GLOUCESTER

(reads)

”The custom of respecting the elderly makes it hard for the young and healthy to live well, and keeps us without our inheritance until we are so old we can’t enjoy our happiness anyway. The power of the elderly is starting to feel like a silly and foolish slavery to me, and they only enjoy that power because we let them have it.

Come to me, that of this I may speak more. If our father would sleep till I waked him, you should enjoy half his revenue forever, and live the beloved of your brother,

Edgar.“

Hum, conspiracy? ”’Sleep till I wake him, you should enjoy half his revenue“—my son Edgar? Had he a hand to write this, a heart and brain to breed it in? When came this to you? Who brought it?

Come talk to me about this. If our father were dead you’d receive half of his revenue forever, and you’d have my undying love,

Edgar.”

Hmm, what’s this, a conspiracy? “If our father were dead, you’d receive half of his revenue forever”—my son Edgar? How did he bring himself to write such a thing? How could he have even entertained these thoughts in his heart? How did you get this letter? Who delivered it?

EDMUND

It was not brought me, my lord. There’s the cunning of it.

I found it thrown in at the casement of my closet.

EDMUND

Nobody delivered it, my lord. That’s what’s clever about it. It was tossed into the window of my room.

GLOUCESTER

You know the character to be your brother’s?

GLOUCESTER

You’re sure the handwriting is your brother’s?

EDMUND

If the matter were good, my lord, I durst swear it were his.

But in respect of that, I would fain think it were not.

EDMUND

If he’d written nice things, I’d swear yes right away. But as it stands, I wish I could believe it wasn’t.

GLOUCESTER

It is his.

GLOUCESTER

But it is his handwriting?

EDMUND

It is his hand, my lord, but I hope his heart is not in the contents.

EDMUND

It’s his handwriting, my lord, but I hope he didn’t mean what he wrote.

GLOUCESTER

Has he never before sounded you in this business?

GLOUCESTER

Has he ever tested out these ideas on you before?

EDMUND

Never, my lord. But I have heard him oft maintain it to be fit that, sons at perfect age and fathers declined, the father should be as ward to the son, and the son manage his revenue.

EDMUND

Never, my lord. But I’ve often heard him argue that when sons are at their prime and their fathers are declining, the sons should be their fathers’ guardians and manage their fathers’ money.

GLOUCESTER

O villain, villain! His very opinion in the letter! Abhorred villain! Unnatural, detested, brutish villain—worse than brutish! Go, sirrah, seek him. I’ll apprehend him. Abominable villain! Where is he?

GLOUCESTER

Oh, what a villain! That’s just what he said in the letter. Evil villain! Monstrous, hateful, bestial villain! Worse than a beast! Go look for him. I’ll arrest him. Horrid villain! Where is he?

EDMUND

I do not well know, my lord. If it shall please you to suspend your indignation against my brother till you can derive from him better testimony of his intent, you shall run a certain course—where if you violently proceed against him, mistaking his purpose, it would make a great gap in your own honor and shake in pieces the heart of his obedience. I dare pawn down my life for him that he hath wrote this to feel my affection to your honor and to no other pretense of danger.

EDMUND

I’m not sure, my lord. But it may be a good idea to restrain your rage until you find out exactly what he meant. If you go after him and then find out that you made a mistake, it would damage your reputation and greatly undermine his loyalty to you. I’ll bet my life that he only wrote this letter to gauge my love for you, and for no other reason.

GLOUCESTER

Think you so?

GLOUCESTER

Do you think so?

EDMUND

If your honor judge it meet, I will place you where you shall hear us confer of this and by an auricular assurance have your satisfaction—and that without any further delay than this very evening.

EDMUND

If you agree, I’ll hide you somewhere where you can eavesdrop on us talking about it, and hear how he feels with your own ears. You won’t have to wait longer than until tonight.

GLOUCESTER

He cannot be such a monster—

GLOUCESTER

He can’t possibly be such a monster—

EDMUND

Nor is not, sure.

EDMUND

And I’m sure he isn’t.

GLOUCESTER

To his father, that so tenderly and entirely loves him. Heaven and earth! Edmund, seek him out, wind me into him, I pray you. Frame the business after your own wisdom. I would unstate myself to be in a due resolution.

GLOUCESTER

—toward his own father who loves him so completely. Oh, God! Edmund, go find him. Gain his confidence for me, please. Manage him however you think best. I’d give up my rank and fortune to be free from my doubts.

EDMUND

I will seek him, sir, presently, convey the business as I shall find means, and acquaint you withal.

EDMUND

I’ll find him right away, sir, and carry out the business as well as I can. Then I’ll let you know what’s happening.

GLOUCESTER

These late eclipses in the sun and moon portend no good to us. Though the wisdom of nature can reason it thus and thus, yet nature finds itself scourged by the sequent effects. Love cools, friendship falls off, brothers divide, in cities mutinies, in countries discord, in palaces treason, and the bond cracked ’twixt son and father. This villain of mine comes under the prediction—there’s son against father. The king falls from bias of nature—there’s father against child. We have seen the best of our time. Machinations, hollowness, treachery, and all ruinous disorders follow us disquietly to our graves. Find out this villain, Edmund. It shall lose thee nothing. Do it carefully.—And the noble and true-hearted Kent banished, his offense honesty! ’Tis strange, strange.

GLOUCESTER

These recent eclipses of the sun and moon don’t bode well for us. Though science can explain them away, disasters still come after eclipses. Love cools off, friendships break up, and brothers become enemies. Riots break out, civil war erupts, kings are betrayed, and the bond between father and son snaps. This wicked son of mine confirms the prediction —son against father. The king acts unnaturally—father against child. We’ve seen the best our age has to offer. Conspiracies, fakery, betrayal, and disorder are all that’s left until we die. Find out what this villainous Edgar is thinking, Edmund. You won’t lose any respect. Just do it carefully.—And to think that the noble and loyal Kent has been banished, for the crime of telling the truth! It’s strange, strange.

Exit GLOUCESTER

GLOUCESTER exits.

EDMUND

This is the excellent foppery of the world that when we are sick in fortune—often the surfeit of our own behavior—we make guilty of our disasters the sun, the moon, and the stars, as if we were villains by necessity, fools by heavenly compulsion, knaves, thieves, and treachers by spherical predominance, drunkards, liars, and adulterers by an enforced obedience of planetary influence, and all that we are evil in by a divine thrusting-on. An admirable evasion of whoremaster man, to lay his goatish disposition to the charge of a star! My father compounded with my mother under the dragon’s tail and my nativity was under Ursa Major, so that it follows I am rough and lecherous. Fut, I should have been that I am, had the maidenliest star in the firmament twinkled on my bastardizing. Edgar—

EDMUND

This is a classic example of the idiocy of the world: when we’re down and out—often because of our own excesses —we put all the blame on the sun, the moon, and the stars, as if they forced us to be bad, or the heavens compelled us to be villainous or stupid. As if we become thieves and traitors according to astrological signs or obey planetary influences to become drunks, liars, and adulterers! As if some universal power pushed us into evil deeds! What a sneaky trick it is for lustful mankind to blame our horniness on some star! My father and mother coupled when the demonic moon was descending, and I was born under the Big Dipper, so it’s inevitable that I’m rude and oversexed. Christ! I would have been what I am even if the most virginal star in the heavens had twinkled at my conception. Edgar—

Enter EDGAR

EDGAR enters.

and pat on ’s cue he comes like the catastrophe of the old comedy. My cue is villainous melancholy, with a sigh like Tom o’ Bedlam. Oh, these eclipses do portend these divisions! Fa, sol, la, mi.

and, speak of the devil, here he comes, right on cue. I’ve got to play the role and sigh like a poor beggar.—Oh, these eclipses predict such disorder. Fa, sol, la, mi.

EDGAR

How now, brother Edmund? What serious contemplation are you in?

EDGAR

Hello, brother Edmund. What are you thinking about so seriously?

EDMUND

I am thinking, brother, of a prediction I read this other day, what should follow these eclipses.

EDMUND

I was thinking about what an astrologer predicted the other day. He wrote about what these eclipses mean.

EDGAR

Do you busy yourself about that?

EDGAR

Are you spending your valuable time on that?

EDMUND

I promise you, the effects he writes of succeed unhappily — as of unnaturalness between the child and the parent, death, dearth, dissolutions of ancient amities, divisions in state, menaces and maledictions against king and nobles, needless diffidences, banishment of friends, dissipation of cohorts, nuptial breaches, and I know not what.

EDMUND

Oh, I assure you the things he writes about are wretched —things like divisions between parents and children, death, famine, broken friendships, political rebellion, treason against the king and noblemen, exiled friends, dissolved armies, adultery, and I don’t know what else.

EDGAR

How long have you been a sectary astronomical?

EDGAR

How long have you believed in astrology?

EDMUND

Come, come. When saw you my father last?

EDMUND

Come on. When was the last time you saw my father?

EDGAR

Why, the night gone by.

EDGAR

Why, last night.

EDMUND

Spake you with him?

EDMUND

Did you speak to him?

EDGAR

Ay, two hours together.

EDGAR

Yes, we talked for a couple of hours.

EDMUND

Parted you in good terms? Found you no displeasure in him by word or countenance?

EDMUND

Did you leave on good terms? Did he express any dissatisfaction with you, either in his words or his face?

EDGAR

None at all.

EDGAR

No, none at all.

EDMUND

Bethink yourself wherein you may have offended him. And at my entreaty forbear his presence till some little time hath qualified the heat of his displeasure, which at this instant so rageth in him that with the mischief of your person it would scarcely allay.

EDMUND

Try to remember how you might have offended him, and try to avoid spending time with him until his anger has cooled a little. Right now he’s so angry that even if he harmed you physically, he’d still be raging.

EDGAR

Some villain hath done me wrong.

EDGAR

Some villain has told lies about me.

EDMUND

That’s my fear. I pray you, have a continent forbearance till the speed of his rage goes slower. And as I say, retire with me to my lodging, from whence I will fitly bring you to hear my lord speak. Pray ye, go. There’s my key. If you do stir abroad, go armed.

EDMUND

That’s what I’m afraid of. I suggest you lay low until his rage cools a little. In the meantime, come home with me, and when the time is right I’ll take you to talk to him. Please go. Here’s my key. If you go outside, arm yourself.

EDGAR

Armed, brother?

EDGAR

Arm myself?

EDMUND

Brother, I advise you to the best. Go armed. I am no honest man if there be any good meaning towards you. I have told you what I have seen and heard—but faintly, nothing like the image and horror of it. Pray you, away.

EDMUND

Brother, I’m giving you good advice. Arm yourself. I’d be a liar if I told you nobody wanted to hurt you. I’ve told you what I’ve seen and heard, but I’ve toned it down a lot. I’ve spared you you the full extent of the horror that threatens you. Now please go.

EDGAR

Shall I hear from you anon?

EDGAR

Will I hear from you soon?

EDMUND

I do serve you in this business.

EDMUND

I’ll help you through this business.

Exit EDGAR

EDGAR exits.

A credulous father, and a brother noble—

Whose nature is so far from doing harms

That he suspects none, on whose foolish honesty

My practices ride easy. I see the business.

Let me, if not by birth, have lands by wit.

All with me’s meet that I can fashion fit.

A gullible father and a brother who’s so innocent that he can’t suspect anyone else of wanting to hurt him—these are the two fools I need for my plan to work. I know exactly how to proceed. If I can’t have an estate by birthright, then I’ll get it by being clever. Any trick that works is good for me.

Exit

He exits.

Act 1, Scene 3

Enter GONERIL and her steward OSWALD

GONERIL enters with her steward, OSWALD.

GONERIL

Did my father strike my gentleman

For chiding of his fool?

GONERIL

Did my father hit one of my attendants for scolding his fool?

OSWALD

Ay, madam.

OSWALD

Yes, ma’am.

GONERIL

By day and night he wrongs me. Every hour

He flashes into one gross crime or other

That sets us all at odds. I’ll not endure it.

His knights grow riotous, and himself upbraids us

On every trifle. When he returns from hunting,

I will not speak with him. Say I am sick.

If you come slack of former services,

You shall do well. The fault of it I’ll answer.

GONERIL

He constantly offends me. Every hour he comes out with some horrible new offense that puts us all on edge. I won’t stand for it. His knights are getting out of control, and he himself reprimands us about every little detail. When he comes back from hunting, I’m not going to speak to him. Tell him I’m sick. And if you’re not as attentive in serving him as you used to be, that’ll be good. I’ll take responsibility for it.

OSWALD

He’s coming, madam. I hear him.

OSWALD

He’s coming, ma’am. I hear him.

Hunting horns within

Hunting horns play offstage.

GONERIL

Put on what weary negligence you please,

You and your fellow servants. I’ll have it come to question.

If he distaste it, let him to our sister,

Whose mind and mine I know in that are one,

Not to be overruled. Idle old man

That still would manage those authorities

That he hath given away! Now by my life,

Old fools are babes again and must be used

With checks as flatteries, when they are seen abused.

Remember what I have said.

GONERIL

Be as lazy and neglectful as you like around him—you and the other servants. I want it to become an issue. If he doesn’t like it, he can go live with my sister. I know she feels the same way about him that I do, and she’ll stand her ground. That useless old man still thinks he can wield all the powers he’s given away. I swear, old fools become like babies again. You can’t just flatter them; you also have to discipline them when you see that they’re misguided. Remember what I’ve told you.

OSWALD

Very well, madam.

OSWALD

Very well, ma’am.

GONERIL

And let his knights have colder looks among you.

What grows of it, no matter. Advise your fellows so.

I would breed from hence occasions, and I shall,

That I may speak. I’ll write straight to my sister

To hold my very course. Go, prepare for dinner.

GONERIL

And make sure the servants are less friendly to his knights. Don’t worry about the consequences. Tell your men as much. I want this to provoke confrontations, so I can give him a piece of my mind. I’ll write to my sister and tell her my plans. Now go, set up for dinner.

Exeunt severally

They exit in opposite directions.

Act 1, Scene 4

Enter KENT disguised

KENT enters in disguise.

KENT

If but as well I other accents borrow,

That can my speech diffuse, my good intent

May carry through itself to that full issue

For which I razed my likeness. Now, banished Kent,

If thou canst serve where thou dost stand condemned,

So may it come thy master, whom thou lovest,

Shall find thee full of labors.

KENT

If I can disguise my voice as well as my appearance, then I’ll be able to carry out my plan perfectly. I was banished, but hopefully I can serve the very king who condemned me. I love my master, and he’ll find me very hard-working.

Horns within Enter LEAR with attendant knights

Trumpets play offstage. LEAR enters with his attendant knights.

LEAR

Let me not stay a jot for dinner. Go get it ready.

LEAR

Don’t make me wait for dinner even a moment. Get it ready immediately.

Exit attendant

An attendant exits.

(to KENT) How now, what art thou?

(to KENT) Well now, who are you?

KENT

A man, sir.

KENT

A man, sir.

LEAR

What dost thou profess? What wouldst thou with us?

LEAR

What’s your profession? What do you want from me?

KENT

I do profess to be no less than I seem—to serve him truly that will put me in trust, to love him that is honest, to converse with him that is wise and says little, to fear judgment, to fight when I cannot choose, and to eat no fish.

KENT

I profess that I’m as good as I seem—I’ll faithfully serve a master who trusts me, love those who are honest, talk with those who are wise and don’t talk too much. I’m God-fearing, I fight if I must, and I don’t eat fish.

LEAR

What art thou?

LEAR

But who are you?

KENT

A very honest-hearted fellow, and as poor as the king.

KENT

An honest guy who’s as poor as the king.

LEAR

If thou beest as poor for a subject as he’s for a king, thou’rt poor enough. What wouldst thou?

LEAR

If you’re as poor a subject as he is a king, you definitely are poor. What do you want?

KENT

Service.

KENT

To work as a servant.

LEAR

Who wouldst thou serve?

LEAR

Who do you want to work for?

KENT

You.

KENT

You.

LEAR

Dost thou know me, fellow?

LEAR

Do you know me?

KENT

No, sir. But you have that in your countenance which I would fain call master.

KENT

No, sir, but there’s something about your face that makes me want to serve you.

LEAR

What’s that?

LEAR

What do you see in my face?

KENT

Authority.

KENT

Authority.

LEAR

What services canst thou do?

LEAR

What work can you do?

KENT

I can keep honest counsel, ride, run, mar a curious tale in telling it, and deliver a plain message bluntly. That which ordinary men are fit for, I am qualified in. And the best of me is diligence.

KENT

I can be discreet in honorable matters, ride a horse, run, tell a good story badly, and deliver a plain message bluntly. I’m good at everything that ordinary men can do. The best thing about me is that I’m hardworking.

LEAR

How old art thou?

LEAR

How old are you?

KENT

Not so young, sir, to love a woman for singing, nor so old to dote on her for anything. I have years on my back forty- eight.

KENT

Not young enough to fall in love with a woman because she sings well, but not old enough to dote on a woman for any reason. I’m forty-eight.

LEAR

Follow me. Thou shalt serve me. If I like thee no worse after dinner, I will not part from thee yet.—Dinner, ho, dinner! Where’s my knave, my fool?—Go you, and call my fool hither.

LEAR

Follow me. You’ll work for me. If I still like you after dinner, I won’t send you away yet.—Hey, dinnertime! Dinner! Where’s my fool?—Go call my fool and have him come here.

Exit attendant

An attendant exits.

Enter OSWALD the steward

OSWALD enters.

You, you, sirrah, where’s my daughter?

You, sir, where’s my daughter?

OSWALD

So please you—

OSWALD

I beg your pardon, sir—

Exit OSWALD

OSWALD exits.

LEAR

What says the fellow there? Call the clotpoll back.

LEAR

What did that guy say? Call the numbskull back in here.

Exit FIRST KNIGHT

The FIRST KNIGHT exits.

Where’s my fool, ho? I think the world’s asleep.

Where’s my fool? You’d think everyone was asleep.

Enter FIRST KNIGHT

The FIRST KNIGHT enters again.

How now? Where’s that mongrel?

So what’s going on? Where’s that dog?

FIRST KNIGHT

He says, my lord, your daughter is not well.

FIRST KNIGHT

He says your daughter’s not feeling well, my lord.

LEAR

Why came not the slave back to me when I called him.

LEAR

Why didn’t the jerk come back to me when I called him?

FIRST KNIGHT

Sir, he answered me in the roundest manner he would not.

FIRST KNIGHT

Sir, he told me quite bluntly that he didn’t feel like it.

LEAR

He would not?

LEAR

Didn’t feel like it?

FIRST KNIGHT

My lord, I know not what the matter is, but to my judgment your highness is not entertained with that ceremonious affection as you were wont. There’s a great abatement of kindness appears as well in the general dependants as in the duke himself also, and your daughter.

FIRST KNIGHT

My lord, I don’t know what’s going on, but it seems to me that your highness isn’t being treated as politely as before. The servants, the duke, and your daughter all seem to be treating you less kindly.

LEAR

Ha! Sayest thou so?

LEAR

Huh! Do you really mean that?

FIRST KNIGHT

I beseech you pardon me, my lord, if I be mistaken—for my duty cannot be silent when I think your highness wronged.

FIRST KNIGHT

Please forgive me if I’m mistaken, my lord—but I can’t keep quiet when I think you’re being insulted.

LEAR

Thou but rememberest me of mine own conception. I have perceived a most faint neglect of late, which I have rather blamed as mine own jealous curiosity than as a very pretense and purpose of unkindness. I will look further into ’t. But where’s my fool? I have not seen him this two days.

LEAR

No, you’re just reminding me of something I’ve also noticed. I’ve felt neglected recently, but I decided that it was more likely that I was being hypersensitive than that they were intentionally unkind. I’ll look into it further. But where’s my fool? I haven’t seen him for two days.

FIRST KNIGHT

Since my young lady’s going into France, sir, the fool hath much pined away.

FIRST KNIGHT

Ever since Cordelia left for France, sir, the fool has been depressed.

LEAR

No more of that. I have noted it well. Go you and tell my daughter I would speak with her.

LEAR

Let’s not talk about it. I’ve noticed it myself. Go and tell my daughter I want to speak with her.

Exit an attendant

An attendant exits.

Go you, call hither my fool.

And you, go call my fool.

Exit another attendant

Another attendant exits.

Enter OSWALD

OSWALD enters.

O you sir, you, come you hither, sir. Who am I, sir?

You there, sir, come here please. Who am I, sir?

OSWALD

My lady’s father.

OSWALD

The father of the lady of the house, sir.

LEAR

“My lady’s father”? My lord’s knave, your whoreson dog!

You slave, you cur!

LEAR

“The father of the lady of the house”? You scoundrel! You lowlife son-of-a-bitch! You dog, you peasant!

OSWALD

I am none of these, my lord. I beseech your pardon.

OSWALD

I’m sorry, sir, but I’m not any of those things.

LEAR

Do you bandy looks with me, you rascal?

(he strikes OSWALD)

LEAR

Are you making faces at me, you scoundrel? (he hits OSWALD)

OSWALD

I’ll not be strucken, my lord.

OSWALD

I won’t be hit, my lord.

KENT

(tripping OSWALD)

Nor tripped neither, you base football player.

KENT

(tripping OSWALD) Or tripped, you lowlife football player?

LEAR

(to KENT) I thank thee, fellow. Thou servest me, and I’ll love thee.

LEAR

(to KENT) Thank you, sir. You serve me well, and I’ll love you for it.

KENT

(to OSWALD) Come, sir, arise, away! I’ll teach you differences. Away, away. If you will measure your lubber’s length again, tarry. But away, go to. Have you wisdom? So.

KENT

(to OSWALD) Come on, sir, get up and get out of here! I’ll teach you to respect your betters. If you want me to trip you again, then stick around. If not, get going. Go on. Do you know what’s good for you? There you go.

Exit OSWALD

OSWALD exits.

LEAR

Now, my friendly knave, I thank thee.

LEAR

Now, my friendly servant, thank you.

Enter FOOL

The FOOL enters.

(gives KENT money) There’s earnest of thy service.

(giving KENT money) Here’s a token of my gratitude.

FOOL

Let me hire him too.—Here’s my coxcomb.

(offers KENT his cap)

FOOL

Wait, let me hire him too.—Here’s my fool’s cap, a token of my gratitude. (he offers KENT his cap)

LEAR

How now, my pretty knave? How dost thou?

LEAR

Well hello, my good boy. How are you doing?

FOOL

(to KENT) Sirrah, you were best take my coxcomb.

FOOL

(to KENT) Guy, you’d better take my cap.

LEAR

Why, Fool?

LEAR

Why, Fool?

FOOL

Why? For taking one’s part that’s out of favor. Nay, an thou canst not smile as the wind sits, thou’lt catch cold shortly. There, take my coxcomb. Why, this fellow has banished two on ’s daughters, and did the third a blessing against his will. If thou follow him, thou must needs wear my coxcomb.—How now, nuncle? Would I had two coxcombs and two daughters.

FOOL

Why? For standing up for this unpopular king. No, if you can’t adjust to political changes, you’ll suffer for it. There, take my fool’s cap. This guy here has banished two of his daughters and blessed the third one without intending to. If you work for him, you’re a fool and should wear a fool’s cap.—So how’s it going, uncle? I wish I had two fool’s caps and two daughters.

LEAR

Why, my boy?

LEAR

Why, my boy?

FOOL

If I gave them all my living, I’d keep my coxcombs myself.

There’s mine. Beg another of thy daughters.

FOOL

If I gave them all I own, I’d have two fool’s caps for myself. Here’s mine. Ask your daughters for another one.

LEAR

Take heed, sirrah—the whip.

LEAR

Watch out, boy—remember I can whip you.

FOOL

Truth’s a dog that must to kennel. He must be whipped out, when Lady Brach may stand by th’ fire and stink.

FOOL

I get whipped like a dog for telling the truth, while Lady Bitch gets to stand around the fire and stink the place up with her false words.

LEAR

A pestilent gall to me!

LEAR

A constant pain to me!

FOOL

Sirrah, I’ll teach thee a speech.

FOOL

I’ll recite something for you, guy.

LEAR

Do.

LEAR

Yes, do that.

FOOL

Mark it, nuncle.

Have more than thou showest,

Speak less than thou knowest,

Lend less than thou owest,

Ride more than thou goest,

Learn more than thou trowest,

Set less than thou throwest,

Leave thy drink and thy whore

And keep in-a-door,

And thou shalt have more

Than two tens to a score.

FOOL

Listen up, uncle.

Have more than you show,

Speak less than you know,

Lend less than you owe.

Ride more than you walk,

Don’t believe everything you hear,

Don’t bet everything on one throw of the dice,

Leave behind your booze and your whore,

And stay indoors,

And you’ll end up with more

Than two tens to a twenty.

KENT

This is nothing, Fool.

KENT

That makes no sense, Fool. It’s nothing.

FOOL

Then ’tis like the breath of an unfee’d lawyer. You gave me nothing for ’t.—Can you make no use of nothing, nuncle?

FOOL

In that case it’s like the words of an unpaid lawyer. You paid me nothing for it. Can’t you make any use of nothing, uncle?

LEAR

Why no, boy. Nothing can be made out of nothing.

LEAR

Why, no, boy. Nothing can be made out of nothing.

FOOL

(to KENT) Prithee, tell him so much the rent of his land comes to. He will not believe a fool.

FOOL

(to KENT) Please tell him that his income is nothing, now that he’s given his lands away. He won’t believe a fool.

LEAR

A bitter fool.

LEAR

You’re a bitter fool.

FOOL

Dost thou know the difference, my boy, between a bitter fool and a sweet fool?

FOOL

Do you know the difference, my boy, between a bitter fool and a sweet one?

LEAR

No, lad. Teach me.

LEAR

No, son. Tell me.

FOOL

That lord that counseled thee

To give away thy land,

Come place him here by me.

Do thou for him stand.

The sweet and bitter fool

Will presently appear—

The one in motley here,

The other found out there.

FOOL

Bring here

The gentleman who advised you

To give away your land.

You can stand in his place.

The sweet and bitter fool

Will appear right away.

The sweet fool in a fool’s costume—that’s me.

The bitter one is the other one—that’s you.LEAR

LEAR

Dost thou call me fool, boy?

LEAR

Are you calling me a fool, boy?

FOOL

All thy other titles thou hast given away that thou wast born with.

FOOL

Well, you’ve given away all your other rightful titles. The title of “fool” is the only one left.

KENT

This is not altogether fool, my lord.

KENT

This isn’t entirely a joke, your highness.

FOOL

No, faith, lords and great men will not let me. If I had a monopoly out, they would have part on ’t. And ladies too— they will not let me have all fool to myself; they’ll be snatching. Give me an egg, nuncle, and I’ll give thee two crowns.

FOOL

No. I wish I could be a complete joker—but so many lords and important men are also playing fools that I can’t have a monopoly on it. Ladies too—they’re always snatching away my role as the biggest fool.—Uncle, give me an egg, and I’ll give you two crowns.

LEAR

What two crowns shall they be?

LEAR

Which two crowns would those be?

FOOL

Why—after I have cut the egg i’ th’ middle and eat up the meat—the two crowns of the egg. When thou clovest thy crown i’ th’ middle, and gavest away both parts, thou borest thy ass o’ th’ back o’er the dirt. Thou hadst little wit in thy bald crown when thou gavest thy golden one away. If I speak like myself in this, let him be whipped that first finds it so.

(sings)

Fools had ne’er less wit in a year,

For wise men are grown foppish.

They know not how their wits to wear,

Their manners are so apish.

FOOL

Well, when I cut the egg in half and eat the whites, the yolk will be in two parts like two golden crowns. When you cut your own crown and kingdom in half and gave away both parts, you were as foolish as the old man in the old story who carries his donkey on his back instead of letting the donkey carry him. You didn’t have much brains inside the bald crown of your head when you gave away the gold crown of your kingdom. If I’m telling the truth like a fool in saying all this, whip the first person who thinks I sound foolish.

(he sings)

Fools have had a hard time this year.

They’ve been displaced by wise men who’ve grown foolish.

These men no longer know how to use their brains,

And they don’t know how to behave except by foolishly imitating others.

LEAR

When were you wont to be so full of songs, sirrah?

LEAR

When did you become so fond of singing, boy?

FOOL

I have used it, nuncle, ever since thou madest thy daughters thy mothers. For when thou gavest them the rod, and put’st down thine own breeches,

(sings)

Then they for sudden joy did weep

And I for sorrow sung,

That such a king should play bo-peep

And go the fools among.

Prithee, nuncle, keep a schoolmaster that can teach thy fool to lie. I would fain learn to lie.

FOOL

I’ve been singing ever since you made your daughters into your mothers by giving them all your power. That’s when you gave them the spanking paddle and pulled your pants down,

(he sings)

Then your daughters wept for joy,

And I sang in sadness,

Seeing such a king become

A child and a fool.

Please, uncle, hire a teacher who can teach your fool to lie. I want to learn how to lie.

LEAR

An you lie, sirrah, we’ll have you whipped.

LEAR

If you lie, boy, we’ll have you whipped.

FOOL

I marvel what kin thou and thy daughters are. They’ll have me whipped for speaking true, thou’lt have me whipped for lying, and sometimes I am whipped for holding my peace. I had rather be any kind o’ thing than a fool. And yet I would not be thee, nuncle. Thou hast pared thy wit o’ both sides and left nothing i’ th’ middle. Here comes one o’ the parings.

FOOL

I’m amazed how similar you and your daughters are. They want to whip me for telling the truth, you want to whip me for lying, and sometimes I’m even whipped for keeping quiet. I’d rather be anything besides a fool. And yet I wouldn’t want to be you, uncle. When you gave away pieces of your kingdom, it’s as if you cut off pieces on both sides of your brain and left nothing in the middle. Here comes the owner of one piece.

Enter GONERIL

GONERIL enters.

LEAR

How now, daughter? What makes that frontlet on?

Methinks you are too much of late i’ th’ frown.

LEAR

What’s going on, daughter? Why are you frowning like that? I think you’ve been frowning too much recently.

FOOL

(to LEAR) Thou wast a pretty fellow when thou hadst no need to care for her frowning. Now thou art an O without a figure. I am better than thou art now. I am a fool. Thou art nothing.

(to GONERIL) Yes, forsooth, I will hold my tongue. So your face bids me, though you say nothing. Mum, mum,

He that keeps nor crust nor crumb,

Weary of all, shall want some.

(indicates LEAR) That’s a shelled peascod.

FOOL

(to LEAR) You were better off when you didn’t have to care whether she frowned or not. Now you’re a big zero, with no digit in front of it to give it value. I’m better than you are—I’m a fool and you’re nothing.

(to GONERIL) Yes, I promise I’ll shut up. That’s what you’re telling me with that expression on your face, even though you don’t say anything. Mum, mum,

The man who gives away his crust and his crumbs

Will discover that he needs some crumbs back.

(pointing at LEAR) That guy is an empty pea pod.

GONERIL

(to LEAR) Not only, sir, this your all-licensed fool,

But other of your insolent retinue

Do hourly carp and quarrel, breaking forth

In rank and not-to-be-endurèd riots. Sir,

I had thought by making this well known unto you

To have found a safe redress, but now grow fearful

By what yourself too late have spoke and done

That you protect this course and put it on

By your allowance—which if you should, the fault

Would not ’scape censure, nor the redresses sleep

Which in the tender of a wholesome weal

Might in their working do you that offense,

Which else were shame, that then necessity

Will call discreet proceeding.

GONERIL

(to LEAR) It’s not just your fool here who can say whatever he wants, but your whole obnoxious entourage keeps whining and arguing, bursting out in intolerably vicious riots. Sir, I thought you could put an end to all this if I told you about it. But judging by what you’ve said and done recently, I’m worried that you don’t mind this chaos, and even approve of it. If that’s true, it’s shameful. I realize that restraining your knights will damage your reputation with them—and under ordinary circumstances it would be unfortunate to have them see you as an ogre. However, this is an extreme situation, and it’s more important to control it than to worry about how you’ll look.

FOOL

For you know, nuncle,

The hedge-sparrow fed the cuckoo so long,

That it’s had it head bit off by it young.

So out went the candle and we were left darkling.

FOOL

You know, uncle,

A sparrow once raised a cuckoo in its nest

Until the cuckoo grew up and bit the sparrow’s head off.

So the candle went out and now we’re all in the dark.

LEAR

Are you our daughter?

LEAR

Are you my daughter?

GONERIL

Come, sir,

I would you would make use of that good wisdom

Whereof I know you are fraught, and put away

These dispositions that of late transform you

From what you rightly are.

GONERIL

Come on, sir. I know you’re very wise, and I wish you would use some of that wisdom to snap out of this mood you’ve been in lately and be your true self again.

FOOL

May not an ass know when the cart draws the horse?

Whoop, Jug! I love thee.

FOOL

Even an idiot knows when the normal order has been inverted and the cart is pulling the horse. Whoo-hoo, honey, I love you!

LEAR

Does any here know me? Why, this is not Lear.

Doth Lear walk thus? Speak thus? Where are his eyes?

Either his notion weakens, or his discernings

Are lethargied. Ha, sleeping or waking?

Sure, ’tis not so.

Who is it that can tell me who I am?

LEAR

Does anyone here know who I am? I’m not Lear. Does Lear walk and talk like this? Where are his eyes? Either his mind is losing its grip or his judgment is screwy.—Hey, am I awake? I don’t think so. Who can tell me who I am?

FOOL

Lear’s shadow.

FOOL

You’re Lear’s shadow.

LEAR

I would learn that. For by the marks

Of sovereignty, knowledge, and reason,

I should be false persuaded I had daughters.

LEAR

I’d like to find out who I am, since the obvious signs around me wrongly indicate that I’ve got daughters.

FOOL

Which they will make an obedient father.

FOOL

Daughters who can make you obey them.

LEAR

(to GONERIL) Your name, fair gentlewoman?

LEAR

(to GONERIL) What’s your name, my dear lady?

GONERIL

This admiration, sir, is much o’ th’ savor

Of other your new pranks. I do beseech you

To understand my purposes aright.

As you are old and reverend, should be wise.

Here do you keep a hundred knights and squires,

Men so disordered, so debauched and bold

That this our court, infected with their manners,

Shows like a riotous inn. Epicurism and lust

Make it more like a tavern or a brothel

Than a graced palace. The shame itself doth speak

For instant remedy. Be then desired

By her that else will take the thing she begs,

A little to disquantity your train,

And the remainder that shall still depend

To be such men as may besort your age,

Which know themselves and you.

GONERIL

This fake astonishment of yours is just like your other pranks. I’m asking you to understand my point of view. Since you’re old and respected, you should be wise. But you’re keeping a hundred knights here who are so disorderly, vulgar, and obnoxious that our noble court is starting to look like a noisy cheap hotel. They’re such oversexed gluttons that I feel like we’re living in a pub or a whorehouse rather than a respectable palace. It’s shameful, and we have to make some changes right away. Please, as a favor to me—and if you don’t do it for me, I’ll do it myself—reduce the number of your knights a little. Keep the ones who are older, like you, and who act their age.

LEAR

Darkness and devils!

Saddle my horses. Call my train together.—

Degenerate bastard, I’ll not trouble thee.

Yet have I left a daughter.

LEAR

Hell and damnation! Saddle up my horses. Call my knights together. I won’t bother you any more, you monstrous bastard. You’re not really my daughter, but I still have one daughter left.

GONERIL

You strike my people, and your disordered rabble

Make servants of their betters.

GONERIL

You hit my servants, and your disorderly mob of knights treat their superiors like servants.

Enter ALBANY

ALBANY enters.

LEAR

Woe that too late repents!—

(to ALBANY) O sir, are you come?

Is it your will? Speak, sir.—Prepare my horses.

LEAR

You’ll be sorry later, but it’ll be too late. (to ALBANY) Oh, sir, are you here now? You decided to come? Answer me, sir. (to attendants) Get my horses ready.

Exit attendant

An attendant exits.

Ingratitude, thou marble-hearted fiend,

More hideous when thou show’st thee in a child

Than the sea monster.

Ingratitude is always hideous, but an ungrateful child is uglier than a sea monster!

ALBANY

Pray, sir, be patient.

ALBANY

Please, sir, be patient.

LEAR

(to GONERIL) Detested kite, thou liest!

My train are men of choice and rarest parts

That all particulars of duty know

And in the most exact regard support

The worships of their name. O most small fault,

How ugly didst thou in Cordelia show,

Which like an engine wrenched my frame of nature

From the fixed place, drew from heart all love,

And added to the gall! O Lear, Lear, Lear!

(strikes his head)

Beat at this gate that let thy folly in

And thy dear judgment out!—Go, go, my people.

LEAR

(to GONERIL) You disgusting vulture, you’re a liar! My knights are the finest men who can attend a king, and they meticulously uphold their reputation. Oh, how ugly did Cordelia’s small flaw appear! And now Cordelia’s small flaw has bent me completely out of shape and sucked all the love out of my heart. Oh, Lear, Lear, Lear! (he hits himself on the head) Let me beat this portal that let my good sense out and my foolishness in!— Go, go, people.

ALBANY

My lord, I am guiltless, as I am ignorant,

Of what hath moved you.

ALBANY

My lord, I have no idea what’s upset you, but whatever it is, I had nothing to do with it.

LEAR

It may be so, my lord.

Hear, Nature, hear, dear goddess, hear!

Suspend thy purpose if thou didst intend

To make this creature fruitful.

Into her womb convey sterility.

Dry up in her the organs of increase,

And from her derogate body never spring

A babe to honor her. If she must teem,

Create her child of spleen, that it may live

And be a thwart disnatured torment to her.

Let it stamp wrinkles in her brow of youth,

With cadent tears fret channels in her cheeks,

Turn all her mother’s pains and benefits

To laughter and contempt, that she may feel—

That she may feel

How sharper than a serpent’s tooth it is

To have a thankless child.—Away, away!

LEAR

That may be true, my lord. Ah, dear Nature, my goddess, listen to me! Change your plans if you ever intended for this woman to have children. Make her sterile and dry up her womb so that no baby will ever come out of her body and honor her. If she must give birth, make her child a bad seed who will torment her, give her a forehead wrinkled with worry, make her cry until her cheeks are sunken. Let it be a wicked child who mocks the mother who cares for it. Make my daughter feel—make her feel how an ungrateful child hurts worse than a snakebite.—Now let’s leave. Go!

Exeunt LEAR, FOOL, KENT, FIRST KNIGHT and the other attendants

LEAR, the FOOL, KENT, FIRST KNIGHT, and attendant knights exit.

ALBANY

Now gods that we adore, whereof comes this?

ALBANY

Dear gods in heaven, what’s the reason for this?

GONERIL

Never afflict yourself to know more of it,

But let his disposition have that scope

That dotage gives it.

GONERIL

Don’t even bother to ask the reasons. Just let him rant and rave. He’s senile.

Enter LEAR and FOOL

LEAR enters with the FOOL.

LEAR

What, fifty of my followers at a clap?

Within a fortnight?

LEAR

What, fifty of my knights dismissed all at once? In only two weeks?

ALBANY

What’s the matter, sir?

ALBANY

What are you talking about, sir?

LEAR

I’ll tell thee.

(to GONERIL) Life and death! I am ashamed

That thou hast power to shake my manhood thus,

That these hot tears which break from me perforce

Should make thee worth them. Blasts and fogs upon thee!

Th’ untented woundings of a father’s curse

Pierce every sense about thee! Old fond eyes,

Beweep this cause again, I’ll pluck ye out

And cast you, with the waters that you loose,

To temper clay. Yea, is ’t come to this?

Ha? Let it be so. I have another daughter,

Who I am sure is kind and comfortable.

When she shall hear this of thee, with her nails

She’ll flay thy wolvish visage. Thou shalt find

That I’ll resume the shape which thou dost think

I have cast off for ever. Thou shalt, I warrant thee.

LEAR

I’ll tell you. (to GONERIL) I’m ashamed that you have the power to upset me like this, as though you’re worth the tears you’re making me shed. Damn you! May you feel every pain a father’s curse can bring! If I cry again because of you, I’ll rip my eyes out of their sockets and throw them and their wet tears down to moisten the earth. Has it come to this? Then so be it. I have one more daughter who I’m sure is kind. When she hears what you’ve done to me, she’ll tear up your wolflike face with her fingernails. And then you’ll see that despite what you thought, I’ll be as powerful as I was before. You’ll see, I promise you.

Exit LEAR

LEAR exits.

GONERIL

Do you mark that, my lord?

GONERIL

Did you hear that?

ALBANY

I cannot be so partial, Goneril,

To the great love I bear you—

ALBANY

Goneril, you know how much I love you, but still I have to say—

GONERIL

Pray you, content.

Come, sire, no more.—What, Oswald, ho!

(to FOOL) You, sir, more knave than fool, after your master.

GONERIL

Shush, please. Come, sir, no more.—Oswald, come here! (to FOOL) And you, sir, you’re more of a rascal than a fool. Go follow your master.

FOOL

Nuncle Lear, nuncle Lear, tarry and take the fool with thee.

A fox when one has caught her

And such a daughter

Should sure to the slaughter,

If my cap would buy a halter.

So the fool follows after.

FOOL

Uncle Lear, uncle Lear, wait. Take your fool with you.

A fox you’ve trapped

And such a daughter

Should both be slaughtered,

If my fool’s cap is worth a rope to bind them.

So the fool follows you.

Exit FOOL

The FOOL exits.

GONERIL

This man hath had good counsel—a hundred knights!

’Tis politic and safe to let him keep

At point a hundred knights, yes, that on every dream,

Each buzz, each fancy, each complaint, dislike,

He may enguard his dotage with their powers

And hold our lives in mercy?—Oswald, I say!

GONERIL

My father can’t think straight—a hundred knights! Just imagine the risk we run in letting him keep a hundred knights around! He could use them to strong-arm us into bowing to every little whim of his, and keep us at his mercy.—Oswald, where are you?

ALBANY

Well, you may fear too far.

ALBANY

You may be exaggerating the risks.

GONERIL

Safer than trust too far.

Let me still take away the harms I fear,

Not fear still to be taken. I know his heart.

What he hath uttered I have writ my sister.

If she sustain him and his hundred knights

When I have showed th’ unfitness—

GONERIL

That’s better than exaggerating our trust. It’s always better to get rid of what you’re scared of than to be afraid. I know how his mind works. I’ve written to my sister telling her everything he’s said. If she welcomes him and his hundred knights after I’ve shown how inappropriately he’s behaved—

Enter OSWALD the steward

OSWALD enters.

OSWALD

Here, madam.

OSWALD

Here, ma’am.

GONERIL

How now, Oswald?

What, have you writ that letter to my sister?

GONERIL

Well, Oswald? Have you written that letter to my sister yet?

OSWALD

Ay, madam.

OSWALD

Yes, ma’am.

GONERIL

Take you some company, and away to horse.

Inform her full of my particular fear,

And thereto add such reasons of your own

As may compact it more. Get you gone

And hasten your return.

GONERIL

Take some men and horses and go to her. Tell her everything that worries me. Add details of your own to back up what I’m saying. Now go, and hurry back.

Exit OSWALD

OSWALD exits.

No, no, my lord,

Though I condemn not, yet under pardon

You are much more attasked for want of wisdom

Than praised for harmful mildness.

No, no, my husband, I’m not angry that you urge me to deal more gently with my father. But you’re showing a lack of wisdom that that is much more noticeable than your tenderness toward him.

ALBANY

How far your eyes may pierce I cannot tell.

Striving to better, oft we mar what’s well.

ALBANY

Maybe you know more than I do. But people often screw things up trying to make them better.

GONERIL

Nay, then—

GONERIL

No, not at all—

ALBANY

Well, well, th’ event.

ALBANY

All right, all right. Time will tell.

Exeunt

They exit.

Act 1, Scene 5

Enter LEAR, KENT disguised, and FOOL

LEAR enters with KENT in disguise, and the FOOL.

LEAR

(to KENT, giving him letters) Go you before to Gloucester with these letters. Acquaint my daughter no further with anything you know than comes from her demand out of the letter. If your diligence be not speedy, I shall be there afore you.

LEAR

(to KENT, giving him letters) Go ahead of us and deliver these letters to the Earl of Gloucester. Answer my daughter’s questions about the letter, but don’t tell her anything else you know. If you’re not quick enough, I’ll get there before you.

KENT

I will not sleep, my lord, till I have delivered your letter.

KENT

I won’t sleep until I’ve delivered your letter, my lord.

Exit KENT

KENT exits.

FOOL

If a man’s brains were in ’s heels, were ’t not in danger of kibes?

FOOL

If a man’s brain were in his feet, wouldn’t it be susceptible to frostbite?

LEAR

Ay, boy.

LEAR

Yes, boy.

FOOL

Then, I prithee, be merry. Thy wit shall ne’er go slipshod.

FOOL

In that case, cheer up. Your brains won’t need slippers to protect them from frostbite, since your brains aren’t in your feet—if they were you wouldn’t take this useless journey to see Regan.

LEAR

Ha, ha, ha!

LEAR

Ha, ha, ha!

FOOL

Shalt see thy other daughter will use thee kindly. For though she’s as like this as a crab’s like an apple, yet I can tell what I can tell.

FOOL

Your other daughter Regan will treat you kindly, you’ll see. Even though she’s as similar to Goneril as one crabapple is like another, still… I know what I know.

LEAR

Why, what canst thou tell, my boy?

LEAR

And what do you know, boy?

FOOL

She will taste as like this as a crab does to a crab. Thou canst tell why one’s nose stands i’ th’ middle on ’s face?

FOOL

I know that Regan will taste just like Goneril—both of them sour crabapples. Do you know why the nose is in the middle of a person’s face?

LEAR

No.

LEAR

No.

FOOL

Why, to keep one’s eyes of either side ’s nose, that what a man cannot smell out, he may spy into.

FOOL

Why, to keep the eyes on the sides, so that you can see anything that you can’t sniff out.

LEAR

I did her wrong—

LEAR

I was wrong to her—

FOOL

Canst tell how an oyster makes his shell?

FOOL

Do you know how an oyster makes its shell?

LEAR

No.

LEAR

No.

FOOL

Nor I neither. But I can tell why a snail has a house.

FOOL

Me neither. But I know why a snail carries its house on its back.

LEAR

Why?

LEAR

Why?

FOOL

Why, to put ’s head in—not to give it away to his daughters and leave his horns without a case.

FOOL

So that he always has a roof over his head. He can’t give his house away to his daughters, leaving himself without shelter.

LEAR

I will forget my nature. So kind a father!—Be my horses ready?

LEAR

I want to forget what I am. Such a kind father!—Are my horses ready?

FOOL

Thy asses are gone about ’em. The reason why the seven stars are no more than seven is a pretty reason.

FOOL

Your attendant asses are getting the horses ready. There’s a nice reason why the constellation Pleiades has only seven stars in it.

LEAR

Because they are not eight?

LEAR

Because it doesn’t have eight?

FOOL

Yes indeed. Thou wouldst make a good fool.

FOOL

That’s right. You’d make a good fool.

LEAR

To take ’t again perforce— Monster ingratitude!

LEAR

I could take back my crown by force—What outrageous ingratitude!

FOOL

If thou wert my fool, nuncle, I’d have thee beaten for being old before thy time.

FOOL

If you were my fool, uncle, I’d have you beaten for getting old before your time.

LEAR

How’s that?

LEAR

How’s that?

FOOL

Thou shouldst not have been old till thou hadst been wise.

FOOL

You’re not supposed to get old until you’re wise.

LEAR

O, let me not be mad, not mad, sweet heaven!

I would not be mad.

Keep me in temper. I would not be mad.

LEAR

Oh, dear God, don’t let me go mad! Keep me balanced and sane. I don’t want to go mad.

Enter a GENTLEMAN

A GENTLEMAN enters.

How now? Are the horses ready?

So, are the horses ready?

GENTLEMAN

Ready, my lord.

GENTLEMAN

They’re ready, my lord.

LEAR

Come, boy.

LEAR

Come on, boy.

Exeunt LEAR and GENTLEMAN

LEAR and the GENTLEMAN exit.

FOOL

She that’s a maid now and laughs at my departure,

Shall not be a maid long unless things be cut shorter.

FOOL

(speaking to the audience) Any girl who laughs because I’m going with the king is too foolish to remain a virgin very long.

Exit

He exits.

Act 2, Scene 1

Enter EDMUND the bastard and CURAN, severally

EDMUND and CURAN enter from different directions.

EDMUND

Save thee, Curan.

EDMUND

Hello, Curan.

CURAN

And you, sir. I have been with your father and given him notice that the Duke of Cornwall and Regan his duchess will be here with him this night.

CURAN

Hello, sir. I just saw your father the Lord Gloucester and notified him that the Duke of Cornwall and his wife Regan will stay with him here tonight.

EDMUND

How comes that?

EDMUND

Why is that?

CURAN

Nay, I know not. You have heard of the news abroad?— I mean the whispered ones, for they are yet but ear-kissing arguments.

CURAN

I don’t know. Have you heard the latest news?—I mean the whispered rumors, since that’s all they are at this point.

EDMUND

Not I. Pray you, what are they?

EDMUND

No, I haven’t. What’s going on?

CURAN

Have you heard of no likely wars toward ’twixt the two

Dukes of Cornwall and Albany?

CURAN

You haven’t heard of the war brewing between the Dukes of Cornwall and Albany?

EDMUND

Not a word.

EDMUND

Not a word.

CURAN

You may do then in time. Fare you well, sir.

CURAN

You may hear about it soon. Goodbye, sir.

Exit CURAN

CURAN exits.

EDMUND

The duke be here tonight? The better—best!

This weaves itself perforce into my business.

My father hath set guard to take my brother.

And I have one thing, of a queasy question,

Which I must act. Briefness and fortune, work!—

Brother, a word. Descend, brother, I say.

EDMUND

The duke will be here tonight? All the better—in fact it’s the best that could happen. His arrival fits perfectly into my plan. My father’s ready to arrest my brother, and I have one risky thing to do. Fast work and a little luck are all I need.—Brother, could I have a word with you? Come down, brother.

Enter EDGAR

EDGAR enters.

My father watches. O sir, fly this place.

Intelligence is given where you are hid.

You have now the good advantage of the night.

Have you not spoken ’gainst the Duke of Cornwall aught?

He’s coming hither—now, i’ th’ night, i’ th’ haste,

And Regan with him. Have you nothing said

Upon his party ’gainst the Duke of Albany?

Advise yourself.

Father is on the lookout. Get out of here quickly! It has leaked out that you’re hiding here. If you leave now, you can take advantage of the darkness and sneak away. You haven’t said anything against the Duke of Cornwall, have you? He’s rushing on his way here right now, and Regan’s with him. Have you said anything against Cornwall or Albany? Think about it.

EDGAR

I am sure on ’t, not a word.

EDGAR

I’m sure of it. I haven’t said a word.

EDMUND

I hear my father coming. Pardon me.

In cunning I must draw my sword upon you.

Draw. Seem to defend yourself. Now quit you well.—

(loudly) Yield! Come before my father. Light, ho! Here!

(aside to Edgar) Fly, brother, fly.

(loudly)

Torches, torches!

(aside to Edgar) So, farewell.

EDMUND

I hear my father coming. Forgive me. I have to pretend to threaten you with my sword. Draw your sword too, as if you’re defending yourself. Be convincing. (loudly) Give up! Go see my father.—Bring in some light!(speaking so that only EDGAR can hear) Run, brother. (loudly) Torches, bring in the torches! (speaking so that only EDGAR can hear) Goodbye, then.

Exit EDGAR

EDGAR exits.

Some blood drawn on me would beget opinion.

Of my more fierce endeavor.

(cuts his own arm)

I have seen drunkards

Do more than this in sport.—Father, father!—

Stop, stop!—No help?

If I had some blood on me it would look like I’d fought more fiercely. (he cuts his own arm) I’ve seen drunk men do worse than this just fooling around.—Father, father!—Stop, stop!—Won’t anyone help me?

Enter GLOUCESTER and servants with torches

GLOUCESTER enters along with servants carrying torches.

GLOUCESTER

Now Edmund, where’s the villain?

GLOUCESTER

Edmund, where’s your wicked brother?

EDMUND

Here stood he in the dark, his sharp sword out,

Mumbling of wicked charms, conjuring the moon

To stand ’s auspicious mistress—

EDMUND

He was standing here in the dark with his sword pointing at me. He was mumbling some black magic spells, appealing to the moon to help him in his evil plans—

GLOUCESTER

But where is he?

GLOUCESTER

But where is he?

EDMUND

Look, sir, I bleed.

EDMUND

Look, sir, I’m bleeding.

GLOUCESTER

Where is the villain, Edmund?

GLOUCESTER

Where is the villain, Edmund?

EDMUND

Fled this way, sir, when by no means he could—

EDMUND

He ran out that way, sir, when he couldn’t—

GLOUCESTER

Pursue him, ho! Go after.

GLOUCESTER

Follow him, now! Go.

Exeunt some servants

Some servants exit.

“By no means” what?

When he couldn’t what?

EDMUND

Persuade me to the murder of your lordship,

But that I told him the revenging gods

’Gainst parricides did all the thunder bend,

Spoke with how manifold and strong a bond

The child was bound to th’ father. Sir, in fine,

Seeing how loathly opposite I stood

To his unnatural purpose, in fell motion,

With his preparèd sword he charges home

My unprovided body, latched mine arm.

And when he saw my best alarumed spirits,

Bold in the quarrel’s right, roused to the encounter,

Or whether ghasted by the noise I made,

Full suddenly he fled.

EDMUND

When he couldn’t persuade me to kill you. I told him that the gods hate men who kill their fathers and unleash all their thunder on them, and that the bond between father and child was sacred. In short, when I told him how firmly opposed I was to his hideous plan, he pulled out his sword and lunged at my defenseless body, cutting my arm. Bolstered by righteousness, I prepared to fight, and when he saw my excitement—or perhaps because my shouting scared him—he ran away suddenly.

GLOUCESTER

Let him fly far.

Not in this land shall he remain uncaught.

And found—dispatch. The noble duke my master,

My worthy arch and patron, comes tonight.

By his authority I will proclaim it

That he which finds him shall deserve our thanks,

Bringing the murderous coward to the stake.

He that conceals him, death.

GLOUCESTER

Let him run far away. If he stays in this country he’ll be found. And if he’s caught, he’ll be executed. The Duke of Cornwall, my master and patron, is arriving tonight. On his authority I’ll proclaim that whoever finds Edgar and helps bring the murderous coward to justice will be rewarded. Whoever helps Edgar hide will die.

EDMUND

When I dissuaded him from his intent,

And found him pight to do it, with cursed speech

I threatened to discover him. He replied,

“Thou unpossessing bastard! Dost thou think

If I would stand against thee, would the reposal

Of any trust, virtue, or worth in thee

Make thy words faithed? No. What I should deny—

As this I would, ay, though thou didst produce

My very character—I’d turn it all

To thy suggestion, plot, and damnèd practice.

And thou must make a dullard of the world,

If they not thought the profits of my death

Were very pregnant and potential spirits

To make thee seek it.”

EDMUND

After I urged him not to kill you, I saw that he was still determined to do it. Enraged, I threatened to expose him. He answered, “You penniless bastard! Do you really think that if it came down to my word against yours, anyone would believe you? No. I’d deny whatever evidence you had against me—even if it were in my own handwriting—and turn it all into evidence against you and your plans for treachery. And you must think people are stupid if you believe they wouldn’t realize all the motives you have for trying to kill me.”

Tucket within

Trumpets play offstage.

GLOUCESTER

O strange and fastened villain!

Would he deny his letter, said he? I never got him.—

Hark, the duke’s trumpets. I know not why he comes.

All ports I’ll bar. The villain shall not ’scape.

The duke must grant me that. Besides, his picture

I will send far and near, that all the kingdom

May have the due note of him.—And of my land,

Loyal and natural boy, I’ll work the means

To make thee capable.

GLOUCESTER

Oh, how monstrously evil! He said he would deny that he wrote his letter? He cannot truly be my son.—Listen. The duke’s trumpets. I don’t know why he’s come here. I’ll forbid all ships from leaving our harbors. The villain won’t escape. The duke will agree with me on that. And I’ll send his picture everywhere so that the whole kingdom will know what he looks like.—And as for you, my loyal and true son, I’ll find some way to make you my heir.

Enter the Duke of CORNWALL, REGAN, and attendants

The Duke of CORNWALL enters with REGAN and attendants.

CORNWALL

How now, my noble friend? Since I came hither,

Which I can call but now, I have heard strange news.

CORNWALL

How are you, my friend? Ever since I arrived here, just now, I’ve been hearing strange rumors.

REGAN

If it be true, all vengeance comes too short

Which can pursue th’ offender. How dost, my lord?

REGAN

If they’re true, no punishment is harsh enough for the criminal. How are you, my lord?

GLOUCESTER

O madam, my old heart is cracked, it’s cracked.

GLOUCESTER

Oh, madam, my old heart is broken, broken.

REGAN

What, did my father’s godson seek your life?—

He whom my father named, your Edgar?

REGAN

Did my father’s godson try to kill you? The one whom my father named, your son Edgar?

GLOUCESTER

O, lady, lady, shame would have it hid.

GLOUCESTER

Oh, my lady, I’m ashamed to admit it.

REGAN

Was he not companion with the riotous knights

That tend upon my father?

REGAN

Wasn’t he friends with all those brawling knights who serve my father?

GLOUCESTER

I know not, madam. ’Tis too bad, too bad.

GLOUCESTER

I don’t know, madam. Oh, it’s too terrible.

EDMUND

Yes, madam, he was of that consort.

EDMUND

To answer your question, ma’am—yes, he was friendly with those knights.

REGAN

No marvel then, though he were ill affected.

’Tis they have put him on the old man’s death,

To have th’ expense and spoil of his revenues.

I have this present evening from my sister

Been well informed of them—and with such cautions

That if they come to sojourn at my house

I’ll not be there.

REGAN

Then it’s no surprise they had a bad influence on him. They probably put him up to killing old man Gloucester to get his money. Tonight I received a letter from my sister telling me all about them—and warning me not be at home in case they come to stay at my house.

CORNWALL

Nor I, assure thee, Regan.—

Edmund, I hear that you have shown your father

A childlike office.

CORNWALL

And I won’t be there either.—Edmund, I’m told you’ve acted like a true son to your father.

EDMUND

It was my duty, sir.

EDMUND

I just did my duty, sir.

GLOUCESTER

He did bewray his practice, and received

This hurt you see striving to apprehend him.

GLOUCESTER

He exposed Edgar’s murderous plot, and was wounded, as you see there, when trying to apprehend him.

CORNWALL

Is he pursued?

CORNWALL

Are your men searching for him?

GLOUCESTER

Ay, my good lord.

GLOUCESTER

Yes, my lord.

CORNWALL

If he be taken, he shall never more

Be feared of doing harm. Make your own purpose

How in my strength you please.—For you, Edmund,

Whose virtue and obedience doth this instant

So much commend itself, you shall be ours.

Natures of such deep trust we shall much need.

You we first seize on.

CORNWALL

If he’s caught, he’ll never make trouble for anyone again. Feel free to use my authority however you wish in order to apprehend him.—As for you, Edmund, you’ve been so loyal and virtuous throughout this whole business. I’d like you to work for me. I need people as trustworthy as you.

EDMUND

I shall serve you, sir,

Truly, however else.

EDMUND

I’ll always be loyal to you, sir.

GLOUCESTER

(to CORNWALL) For him I thank your grace.

GLOUCESTER

(to cornwall) Thank you, my lord, for your kindness to Edmund.

CORNWALL

You know not why we came to visit you—

CORNWALL

You don’t know why we came to visit you—

REGAN

Thus out of season, threading dark-eyed night.

Occasions, noble Gloucester, of some poise,

Wherein we must have use of your advice:

Our father he hath writ, so hath our sister,

Of differences, which I least thought it fit

To answer from our home. The several messengers

From hence attend dispatch. Our good old friend,

Lay comforts to your bosom, and bestow

Your needful counsel to our business,

Which craves the instant use.

REGAN

Yes, and so unexpectedly, at night. There are some important matters we need your advice on, Gloucester. My father and my sister have both recently written to me about arguments between them. I realized it would be inconvenient to answer them from home, especially since the king may be on his way there. Their messengers are ready, waiting to deliver our response in these matters. So please, old friend, give us some good advice. We need it desperately and immediately.

GLOUCESTER

I serve you, madam.

Your graces are right welcome.

GLOUCESTER

I’m at your service, madam. Both of you are very welcome here.

Flourish. Exeunt

Trumpets play. They all exit.

Act 2, Scene 2

Enter KENT disguised and OSWALD the steward, severally

KENT enters in disguise. OSWALD enters from elsewhere.

OSWALD

Good dawning to thee, friend. Art of this house?

OSWALD

Good morning to you, friend. Do you work in this house?

KENT

Ay.

KENT

Yes, I do.

OSWALD

Where may we set our horses?

OSWALD

Where should we stable our horses?

KENT

I’ th’ mire.

KENT

In the mud.

OSWALD

Prithee, if thou lovest me, tell me.

OSWALD

Please, sir, be kind to me and tell me.

KENT

I love thee not.

KENT

I won’t be kind to you.

OSWALD

Why, then, I care not for thee.

OSWALD

In that case, I don’t much care for you either.

KENT

If I had thee in Lipsbury pinfold, I would make thee care for me.

KENT

If I could get my hands on you, I’d make you care.

OSWALD

Why dost thou use me thus? I know thee not.

OSWALD

Why are you talking to me like this? I don’t even know you.

KENT

Fellow, I know thee.

KENT

Ah, but I know you.

OSWALD

What dost thou know me for?

OSWALD

Who am I then?

KENT

A knave, a rascal, an eater of broken meats; a base, proud, shallow, beggarly, three-suited, hundred-pound, filthy, worsted-stocking knave; a lily-livered, action-taking knave; a whoreson, glass-gazing, super-serviceable finical rogue; one-trunk-inheriting slave; one that wouldst be a bawd in way of good service; and art nothing but the composition of a knave, beggar, coward, pander, and the son and heir of a mongrel bitch; one whom I will beat into clamorous whining if thou deniest the least syllable of thy addition.

KENT

You’re a lowlife, a rascal who eats leftover scraps. You’re an ignoble, arrogant, shallow, vulgar, pretentious, conceited, filthy third-rate servant who thinks he’s something special. You’re a cowardly lawyer-loving bastard; a vain, brown-nosing, prissy scoundrel who’d pimp himself out to advance his career; a bag lady. You’re nothing but a lowlife, a beggar, a coward, and a pimp, the son and heir of a mutt bitch. I’ll beat you until you whine and cry if you deny the least bit of this.

OSWALD

Why, what a monstrous fellow art thou, thus to rail on one that is neither known of thee nor knows thee!

OSWALD

What an ogre you are to slander someone you don’t know, and who doesn’t know you!

KENT

What a brazen-faced varlet art thou to deny thou knowest me! Is it two days ago since I tripped up thy heels and beat thee before the king? Draw, you rogue, for though it be night yet the moon shines. I’ll make a sop o’ th’ moonshine of you. (draws his sword) Draw, you whoreson cullionly barber-monger, draw!

KENT

What a shameless jerk you are to pretend you don’t know me! It was just two days ago that I tripped you and beat you up in front of the king. Draw your sword, scoundrel. It may be nighttime, but there’s enough moonlight to fight by. I’ll make ground beef out of you. (he draws his sword) Draw, you affected, preening son of a bitch! Draw your sword!

OSWALD

Away! I have nothing to do with thee.

OSWALD

Get away from me! I’ve got nothing to do with you.

KENT

Draw, you rascal. You come with letters against the king and take Vanity the puppet’s part against the royalty of her father. Draw, you rogue, or I’ll so carbonado your shanks. Draw, you rascal! Come your ways.

KENT

Draw your sword, you jerk! You come here with letters against the king, and you take his conceited daughter’s side against his royal highness. Draw your sword, scoundrel, or I’ll slice your thighs like flank steak. Draw your sword! Come on!

OSWALD

Help, ho! Murder! Help!

OSWALD

Help! Murderer! Help!

KENT

Strike, you slave. Stand, rogue. Stand, you neat slave, strike! (strikes OSWALD)

KENT

Fight, peasant. Don’t run away, scoundrel. Stand and fight, you overdressed servant, fight! (he hits OSWALD)

OSWALD

Help, ho! Murder, murder!

OSWALD

Help! Murder, murder!

Enter EDMUND the bastard with his rapier drawn, the Duke of CORNWALL, the Duchess REGAN, GLOUCESTER, and servants

EDMUND enters with his sword drawn, followed by the Duke of CORNWALL, the Duchess REGAN, GLOUCESTER, and servants.

EDMUND

How now? What’s the matter? Part.

EDMUND

What’s going on here? Get away from each other.

KENT

(to EDMUND) With you, goodman boy, if you please. Come,

I’ll flesh ye. Come on, young master.

KENT

(to EDMUND) Well, kid, let’s see you fight. Come on, I’ll show you how.

GLOUCESTER

Weapons, arms? What’s the matter here?

GLOUCESTER

You have weapons? What’s going on here?

CORNWALL

Keep peace, upon your lives.

He dies that strikes again. What is the matter?

CORNWALL

Stop it, I order you. The next person to strike again dies. What’s going on here?

REGAN

The messengers from our sister and the king.

REGAN

These are the messengers from my sister and the king.

CORNWALL

What is your difference? Speak.

CORNWALL

What are you fighting about? Tell me.

OSWALD

I am scarce in breath, my lord.

OSWALD

I’m out of breath, sir.

KENT

No marvel, you have so bestirred your valor. You cowardly rascal, nature disclaims in thee. A tailor made thee.

KENT

No wonder, with all your exertions, you cowardly rascal. You’re not worth being called a man. The only thing manly about you are your clothes. A tailor made you.

CORNWALL

Thou art a strange fellow. A tailor make a man?

CORNWALL

That’s an odd thing to say. How can a tailor make a person?

KENT

Ay, a tailor, sir. A stone-cutter or painter could not have made him so ill though they had been but two years o’ th’ trade.

KENT

Definitely a tailor, sir. A sculptor or a painter couldn’t have screwed him up as bad as that, even as an apprentice.

CORNWALL

Speak yet. How grew your quarrel?

CORNWALL

But tell me what you’re fighting about.

OSWALD

This ancient ruffian, sir, whose life I have spared at suit of his gray beard—

OSWALD

This old ruffian here, whom I didn’t kill because he’s so old—

KENT

Thou whoreson zed, thou unnecessary letter!—My lord, if you will give me leave, I will tread this unbolted villain into mortar and daub the wall of a jakes with him.—Spare my gray beard, you wagtail?

KENT

You useless bastard—you’re like the letter “z,” a totally unnecessary addition to the alphabet.—My lord, please let me grind this lumpy lowlife into a powder and use it to plaster up the bathroom walls.—You didn’t kill me because I’m so old, you fawning dog?

CORNWALL

Peace, sirrah!

You beastly knave, know you no reverence?

CORNWALL

Calm down. Don’t you have any manners, you savage?

KENT

Yes, sir, but anger hath a privilege.

KENT

Yes, sir, but not when I’m enraged.

CORNWALL

Why art thou angry?

CORNWALL

Why are you enraged?

KENT

That such a slave as this should wear a sword,

Who wears no honesty. Such smiling rogues as these,

Like rats, oft bite the holy cords atwain

Which are too intrinse t’ unloose, smooth every passion

That in the natures of their lords rebel,

Bring oil to fire, snow to the colder moods;

Renege, affirm, and turn their halcyon beaks

With every gale and vary of their masters,

Knowing naught, like dogs, but following.—

A plague upon your epileptic visage!

Smile you my speeches as I were a fool?

Goose, an I had you upon Sarum plain,

I’d drive ye cackling home to Camelot.

KENT

I’m angry that a dishonorable lowlife like this wears a sword like a gentleman. Smiling swindlers such as he undo the sacred bonds that unite people together, and only encourage the unreasonable passions of their masters. They foster both rage and apathy. They say “Yes” and “No,” turning their noses whichever way the wind blows without taking a firm stance on anything. They blindly follow their masters’ impulses, like dogs.—Damn your ugly stinking face! Are you laughing at what I say, as if I were a fool? If I had my way with you right now, I’d send you to back to where you came from.

CORNWALL

Why, art thou mad, old fellow?

CORNWALL

Are you insane, old man?

GLOUCESTER

(to KENT) How fell you out?

Say that.

GLOUCESTER

(to KENT) What did you start quarreling over? Just tell us.

KENT

No contraries hold more antipathy

Than I and such a knave.

KENT

I couldn’t hate that jerk over there any more than I do.

CORNWALL

Why dost thou call him “knave”? What’s his offense?

CORNWALL

Why are you calling him a jerk? What did he do to you?

KENT

His countenance likes me not.

KENT

I don’t like his face.

CORNWALL

No more perchance does mine, nor his, nor hers.

CORNWALL

But maybe you don’t like mine, or his, or hers either.

KENT

Sir, ’tis my occupation to be plain.

I have seen better faces in my time

Than stands on any shoulder that I see

Before me at this instant.

KENT

I’m used to telling the truth, sir, and I have to say that I’ve seen better faces than those I see here.

CORNWALL

This is some fellow,

Who, having been praised for bluntness, doth affect

A saucy roughness and constrains the garb

Quite from his nature. He cannot flatter, he.

An honest mind and plain, he must speak truth.

An they will take it, so. If not, he’s plain.

These kind of knaves I know, which in this plainness

Harbor more craft and more corrupter ends

Than twenty silly-ducking observants

That stretch their duties nicely.

CORNWALL

This is a guy who’s been praised for his honest bluntness, and who now insolently pretends to be plainspoken and twists the natural meanings of words. No flattery for him, no sir! He’s honest, he’s got to speak the truth. If people take what he says, fine. If not, he’s got truth on his side! I know his type. He’s sneaky behind all his so-called bluntness, sneakier than twenty brown-nosing bootlickers who only tell you what you want to hear.

KENT

Sir, in good faith, or in sincere verity,

Under th’ allowance of your great aspect,

Whose influence, like the wreath of radiant fire

On flickering Phoebus’ front—

KENT

Dearest, kindest, most honorable sir, may I say, with your esteemed approval, which is lit up by the illuminating radiance of the sun-god Phoebus, that—

CORNWALL

What mean’st by this?

CORNWALL

What do you mean by that?

KENT

To go out of my dialect, which you discommend so much. I know, sir, I am no flatterer. He that beguiled you in a plain accent was a plain knave, which for my part I will not be, though I should win your displeasure to entreat me to ’t.

KENT

I tried to stop speaking plainly, since you dislike plain speech so much. Sir, I know I’m not a flatterer. The guy who tricked you with plain language was just a plain crook—which I’m not, however much I may displease you by not being one.

CORNWALL

(to OSWALD) What was th’ offense you gave him?

CORNWALL

(to OSWALD) How did you offend him?

OSWALD

I never gave him any.

It pleased the king his master very late

To strike at me upon his misconstruction

When he, conjunct and flattering his displeasure,

Tripped me behind; being down, insulted, railed,

And put upon him such a deal of man

That worthied him, got praises of the king

For him attempting who was self-subdued.

And in the fleshment of this dread exploit

Drew on me here again.

OSWALD

I never offended him at all. Recently, the king hit me because of a misunderstanding. This man took sides with the king and tripped me. When I was down on the ground he insulted me, and then started acting tough to seem courageous in front of the king. The king praised him, even though I had never offered any resistance at all. Now he pulled out his sword on me again, still riled up from our first encounter.

KENT

None of these rogues and cowards

But Ajax is their fool.

KENT

These cowards manage to make fools of brave men.

CORNWALL

Fetch forth the stocks, ho!—

You stubborn ancient knave, you reverend braggart,

We’ll teach you.

CORNWALL

Bring out the stocks !—We’ll teach you, you stubborn old bastard, you arrogant show-off.

KENT

Sir, I am too old to learn.

Call not your stocks for me. I serve the king,

On whose employment I was sent to you.

You shall do small respect, show too bold malice

Against the grace and person of my master,

Stocking his messenger.

KENT

Sir, I’m too old to be taught anything. Don’t put me in the stocks. I serve the king, who sent me here. If you put me in the stocks you’ll insult him both as a king and as a man.

CORNWALL

Fetch forth the stocks!

As I have life and honor, there shall he sit till noon.

CORNWALL

Bring out the stocks! I swear on my life and honor, he’ll sit here in the stocks until noon.

REGAN

Till noon? Till night, my lord, and all night too.

REGAN

Only until noon, my lord? No, the whole day, and all night too.

KENT

Why, madam, if I were your father’s dog,

You should not use me so.

KENT

Ma’am, you wouldn’t treat me like this if I were your father’s dog.

REGAN

Sir, being his knave, I will.

REGAN

But since you’re his scoundrel servant, I will.

Stocks brought out

The stocks are brought out.

CORNWALL

This is a fellow of the selfsame color

Our sister speaks of.—Come, bring away the stocks!

CORNWALL

This guy is exactly the kind of person your sister warned us about.—Come on, bring in the stocks, now!

GLOUCESTER

Let me beseech your grace not to do so.

His fault is much, and the good king his master

Will check him for ’t. Your purposed low correction

Is such as basest and contemned’st wretches

For pilferings and most common trespasses

Are punished with.

The king his master needs must take it ill,

That he, so slightly valued in his messenger,

Should have him thus restrained.

GLOUCESTER

I beg you not to do this, my lord. He’s done wrong, and his master the king will punish him for it. But the kind of punishment you propose is more suited to petty shoplifters than to royal attendants. The king will be offended to find out that his messenger is so badly treated.

CORNWALL

I’ll answer that.

CORNWALL

I’ll take responsibility for that.

REGAN

My sister may receive it much more worse

To have her gentleman abused, assaulted

For following her affairs.—Put in his legs.

REGAN

My sister would be much more offended to have her trusted messenger abused and assaulted just for carrying out her orders.—Put his legs in the stocks.

KENT is put in the stocks

KENT is put in the stocks.

CORNWALL

(to GLOUCESTER) Come, my good lord, away.

CORNWALL

(to GLOUCESTER) Let’s go, my lord.

Exeunt all but GLOUCESTER and KENT

Everyone exits except GLOUCESTER and KENT.

GLOUCESTER

I am sorry for thee, friend. ’Tis the duke’s pleasure,

Whose disposition, all the world well knows,

Will not be rubbed nor stopped. I’ll entreat for thee.

GLOUCESTER

I’m sorry, my friend. The duke always gets it his way, and everyone knows you can’t budge him once he’s made up his mind. I’ll try talking to him again.

KENT

Pray you do not, sir. I have watched and traveled hard.

Some time I shall sleep out. The rest I’ll whistle.

A good man’s fortune may grow out at heels.

Give you good morrow.

KENT

Please don’t, sir. I’ve been up for a long time and have done a lot of traveling recently. This punishment will be a good chance to catch up on my sleep. The rest of the time I’ll whistle to entertain myself. Even good men have bad luck. Have a good morning.

GLOUCESTER

The duke’s to blame in this. ’Twill be ill taken.

GLOUCESTER

It’s wrong for the duke to do this. The king will be angry with him.

Exit GLOUCESTER

GLOUCESTER exits.

KENT

Good King, that must approve the common saw,

Thou out of heaven’s benediction comest

To the warm sun.

(takes out a letter)

Approach, thou beacon to this underglobe,

That by thy comfortable beams I may

Peruse this letter. Nothing almost sees miracles

But misery. I know ’tis from Cordelia,

Who hath most fortunately been informed

Of my obscurèd course and (reads the letter) “shall find time

From this enormous state, seeking to give

Losses their remedies.” All weary and o’erwatched,

Take vantage, heavy eyes, not to behold

This shameful lodging.

Fortune, good night. Smile once more. Turn thy wheel.

(sleeps)

KENT

Oh, good King Lear, you’re proving that, just as they say, everything goes from good to bad. (he takes out a letter) Rise and shine, sun, so I can read this letter. Only those who are truly miserable see miracles. I know this letter is from Cordelia, who knows that I’m serving the king in disguise. (looking at the letter) She says that she will have time, now that she’s away from the monstrous conditions here, to find a way to fix things. I’m exhausted. I’ve been awake too long. This fatigue gives me an excuse to shut my eyes so I can’t see myself humiliated in the stocks. Good night, Lady Luck. Smile and spin your wheel of fortune again. (he sleeps)

Act 2, Scene 3

Enter EDGAR

EDGAR enters.

EDGAR

I heard myself proclaimed,

And by the happy hollow of a tree

Escaped the hunt. No port is free, no place

That guard and most unusual vigilance

Does not attend my taking. Whiles I may ’scape,

I will preserve myself, and am bethought

To take the basest and most poorest shape

That ever penury in contempt of man

Brought near to beast. My face I’ll grime with filth,

Blanket my loins, elf all my hair in knots,

And with presented nakedness outface

The winds and persecutions of the sky.

The country gives me proof and precedent

Of Bedlam beggars, who with roaring voices

Strike in their numbed and mortified bare arms

Pins, wooden pricks, nails, sprigs of rosemary,

And with this horrible object from low farms,

Poor pelting villages, sheepcotes, and mills,

Sometime with lunatic bans, sometime with prayers,

Enforce their charity. “Poor Turlygod!” “Poor Tom!”—

That’s something yet. Edgar I nothing am.

EDGAR

I heard myself declared an outlaw and escaped capture by hiding in the trunk of a hollow tree. Every town and port is crawling with henchmen on the lookout, waiting to capture me. But I’ll survive while I can. I’ve decided to disguise myself as the lowliest and rattiest beggar that mankind has ever seen. I’ll smear my face with filth, put on a loincloth, make my hair matted and tangled, and face the bad weather wearing almost nothing. I’ve seen beggars out of insane asylums who stick pins and nails into their numb arms. They pray or roar lunatic curses, horrifying farmers and villagers into giving them alms. “Poor crazy Tom!” they call themselves. Well, at least that’s something. As Edgar, I’m nothing at all.

Exit

He exits.

Act 2, Scene 4

KENT in the stocks Enter LEAR, FOOL, and GENTLEMAN

KENT is in the stocks. LEAR enters with the FOOL and the GENTLEMAN.

LEAR

’Tis strange that they should so depart from home,

And not send back my messenger.

LEAR

It’s strange that Regan and her husband left their house without sending back my messenger.

GENTLEMAN

As I learned,

The night before there was no purpose in them

Of this remove.

GENTLEMAN

According to what I heard, they had no travel plans as of last night.

KENT

(to LEAR) Hail to thee, noble master!

KENT

(to LEAR) Hail, noble master!

LEAR

Ha! Makest thou this shame thy pastime?

LEAR

What’s this? Are you sitting around in this humiliation to amuse yourself?

KENT

No, my lord.

KENT

No, my lord.

FOOL

Ha, ha! Look, he wears cruel garters. Horses are tied by the heads, dogs and bears by the neck, monkeys by the loins, and men by the legs. When a man’s overlusty at legs, then he wears wooden nether-stocks.

FOOL

Ha, ha! That’s a nasty garter belt. You tie up horses by their heads, dogs and bears by their necks, monkeys by their waists, and humans by their legs. When a person’s prone to wanderlust, he has to wear wooden socks, like a chastity belt around his ankles.

LEAR

(to KENT) What’s he that hath so much thy place mistook

To set thee here?

LEAR

(to KENT) Who could have misunderstood your assigment so completely as to lock you up like this?

KENT

It is both he and she:

Your son and daughter.

KENT

Your daughter and son-in-law.

LEAR

No.

LEAR

No.

KENT

Yes.

KENT

Yes.

LEAR

No, I say.

LEAR

I’m telling you “No.”

KENT

I say “Yea.”

KENT

And I’m telling you “Yes.”

LEAR

No, no, they would not.

LEAR

No, no, they wouldn’t.

KENT

Yes, they have.

KENT

Yes, they have.

LEAR

By Jupiter, I swear “No.”

LEAR

By the god Jupiter above, I swear “No.”

KENT

By Juno, I swear “Ay.”

KENT

By Jupiter’s wife Juno, I swear “Yes.”

LEAR

They durst not do ’t.

They could not, would not do ’t. ’Tis worse than murder

To do upon respect such violent outrage.

Resolve me with all modest haste which way

Thou mightst deserve or they impose this usage,

Coming from us.

LEAR

They wouldn’t dare. They couldn’t, they wouldn’t. It’s worse than murder to humiliate a king’s messenger like this. Tell me as quickly and clearly as you can what you did to deserve this punishment, or what made them think they could inflict it on you.

KENT

My lord, when at their home

I did commend your highness’ letters to them.

Ere I was risen from the place that showed

My duty kneeling, came there a reeking post,

Stewed in his haste, half breathless, panting forth

From Goneril his mistress salutations,

Delivered letters spite of intermission,

Which presently they read, on whose contents

They summoned up their meiny, straight took horse,

Commanded me to follow and attend

The leisure of their answer, gave me cold looks.

And meeting here the other messenger,

Whose welcome I perceived had poisoned mine—

Being the very fellow which of late

Displayed so saucily against your highness—

Having more man than wit about me, drew.

He raised the house with loud and coward cries.

Your son and daughter found this trespass worth

The shame which here it suffers.

KENT

My lord, when I arrived at their home I gave them your letter. Before I had a chance to get up from my respectful kneeling position, Goneril’s messenger arrived, stinky, sweaty, and out of breath. He interrupted me, spouted out greetings from her, and delivered her letter, which they opened immediately. After reading it, they gathered their entourage together and got on their horses to go. They glared at me and ordered me to follow them and wait for their answer. After we arrived here, I ran into that other messenger who made them give me the cold shoulder—the very same guy who was so rude to you, King. I admit it was foolish to draw my sword on him, but I had to act like a man. He woke up the whole house with his loud and cowardly screams. That’s why your daughter and son-in-law are punishing me shamefully.

FOOL

Winter’s not gone yet, if the wild geese fly that way.

Fathers that wear rags

Do make their children blind.

But fathers that bear bags

Shall see their children kind.

Fortune, that arrant whore,

Ne’er turns the key to th’ poor.

But for all this thou shalt have as many dolors for thy daughters as thou canst tell in a year.

FOOL

This story bodes more stormy weather.

Fathers who wear rags

Make their children neglect them.

But fathers who are rich

Make their children kind.

Lady Luck is a fickle whore

And never gives the poor a break.

But despite all this, your daughters will give you a lot of money—or do I mean pain?—in the coming year.

LEAR

O, how this mother swells up toward my heart!

Hysterica passio, down, thou climbing sorrow.

Thy element’s below.—Where is this daughter?

LEAR

I’m getting hysterical. I feel my stomach squeezing up against my heart. Calm down, you belong lower down!—Where is this daughter of mine?

KENT

With the earl, sir, here within.

KENT

Inside, sir, with the earl.

LEAR

Follow me not. Stay here.

LEAR

Don’t follow me. Stay here.

Exit LEAR

He exits.

GENTLEMAN

Made you no more offense but what you speak of?

GENTLEMAN

You didn’t do anything else to earn this punishment?

KENT

None.

How chance the king comes with so small a train?

KENT

Nothing. Tell me, why did the king arrive with such a small entourage?

FOOL

An thou hadst been set i’ th’ stocks for that question, thou’dst well deserved it.

FOOL

If they’d put you in the stocks for asking that question, you would’ve deserved it.

KENT

Why, Fool?

KENT

Why, Fool?

FOOL

We’ll set thee to school to an ant to teach thee there’s no laboring i’ th’ winter. All that follow their noses are led by their eyes but blind men, and there’s not a nose among twenty but can smell him that’s stinking. Let go thy hold when a great wheel runs down a hill, lest it break thy neck with following it. But the great one that goes up the hill, let him draw thee after. When a wise man gives thee better counsel, give me mine again. I would have none but knaves follow it since a fool gives it.

That sir which serves and seeks for gain,

And follows but for form,

Will pack when it begins to rain

And leave thee in the storm.

But I will tarry. The fool will stay.

And let the wise man fly.

The knave turns fool that runs away;

The fool, no knave, perdie.

FOOL

You need to learn what ants know well about winter—there’s no point in slaving away if there’s no hope for profit. Serving the king will get you nowhere. Everyone can see that, and even blind men can smell the stench of his misery now. When you see a huge wheel rolling down a hill, you shouldn’t try to hold on to it or it’ll break your neck. But if you see a wheel going uphill, latch on for the ride. And when a wise man gives you better advice than I just did, give me my advice back again. I only want idiots following my advice, the advice of a fool.

The gentleman who serves you only for profit

And is only superficially loyal to you

Will take off when it starts to rain

And leave you alone in the storm.

But I’ll linger. The fool will stay.

And let the wise man run away.

The servant who runs away is a fool.

But this fool is no scoundrel, by God.

KENT

Where learned you this, Fool?

KENT

Where did you learn that song, Fool?

FOOL

Not i’ th’ stocks, fool.

FOOL

Not in the stocks, fool.

Enter LEAR and GLOUCESTER

LEAR and GLOUCESTER enter.

LEAR

Deny to speak with me? They are sick? They are weary?

They have traveled all the night?—mere fetches, ay!

The images of revolt and flying off.

Fetch me a better answer.

LEAR

How can they refuse to speak with me? How can they say that they’re sick or exhausted or that they have traveled all night!? They’re playing with me. These are tricks. This is rebellion. Go ask them again and make them see me this time.

GLOUCESTER

My dear lord,

You know the fiery quality of the duke,

How unremoveable and fixed he is

In his own course.

GLOUCESTER

My dear lord, you know how passionately stubborn the duke is. He never changes his mind.

LEAR

Vengeance, plague, death, confusion!

“Fiery”? What “quality”? Why, Gloucester, Gloucester,

I’d speak with the Duke of Cornwall and his wife.

LEAR

Hell! Damn it all to hell! “Passionately”? What “passion”? Gloucester, Gloucester, I want to speak with the Duke of Cornwall and his wife.

GLOUCESTER

Well, my good lord, I have informed them so.

GLOUCESTER

My lord, I informed them as much.

LEAR

“Informed them”? Dost thou understand me, man?

LEAR

“Informed them”? Do you understand what I’m saying, man?

GLOUCESTER

Ay, my good lord.

GLOUCESTER

Yes, my lord.

LEAR

The king would speak with Cornwall. The dear father

Would with his daughter speak, commands, tends service.

Are they “informed” of this? My breath and blood!

“Fiery”? The “fiery” duke? Tell the hot duke that Lear—

No, but not yet. Maybe he is not well.

Infirmity doth still neglect all office

Whereto our health is bound. We are not ourselves

When nature, being oppressed, commands the mind

To suffer with the body. I’ll forbear,

And am fallen out with my more headier will

To take the indisposed and sickly fit

For the sound man.

(notices KENT again)

Death on my state! Wherefore

Should he sit here? This act persuades me

That this remotion of the duke and her

Is practice only. Give me my servant forth.

Go tell the duke and ’s wife I’d speak with them—

Now, presently. Bid them come forth and hear me,

Or at their chamber door I’ll beat the drum

Till it cry sleep to death.

LEAR

The king wants to speak with Cornwall. The father wants to speak with his daughter. He orders them—he begs them. Did you inform them of that? This is unbelievable! “Passionate”? The “passionate” duke? Tell the hot-headed duke that I… But no, not yet. Maybe he’s not feeling well. When we’re ill we can’t carry out our duties as well as when we’re healthy. When our bodies are out of order, our minds can’t function properly. I’ll hold off, and subdue my impulsive temper, which makes me judge a sick man as if he were well. (he notices KENT again) A curse on my royal power! Why should he sit here like this? The fact that they punished him convinces me that Regan and the duke are avoiding me on purpose. I want my servant released. Go tell the duke and his wife I’ll speak to them right now, at once. Tell them to come here and hear me out, or else I’ll beat a drum at their bedroom door until they can’t sleep any more.

GLOUCESTER

I would have all well betwixt you.

GLOUCESTER

I just want everything to be all right between you.

Exit GLOUCESTER

GLOUCESTER exits.

LEAR

O me, my heart, my rising heart! But down.

LEAR

Oh, my heart, my heart is rising into my throat! Stay down, heart.

FOOL

Cry to it, nuncle, as the cockney did to the eels when she put ’em i’ th’ paste alive. She knapped ’em o’ th’ coxcombs with a stick and cried, “Down, wantons, down!” ’Twas her brother that, in pure kindness to his horse, buttered his hay.

FOOL

That’s right, uncle, talk to your heart, like the housewife who yelled at the eels she was putting in her pie. She hit ’em on the head with a stick and shouted, “Down, you naughty things, down!” That was the woman whose brother wanted to be nice to his horse, and buttered its hay.

Enter the Duke of CORNWALL, REGAN, GLOUCESTER, and servants

The Duke of CORNWALL, REGAN, and GLOUCESTER enter with their servants.

LEAR

Good morrow to you both.

LEAR

Good morning to you both.

CORNWALL

Hail to your grace.

CORNWALL

Hail to your majesty.

KENT here set at liberty

KENT is set free.

REGAN

I am glad to see your highness.

REGAN

I’m glad to see your highness.

LEAR

Regan, I think you are. I know what reason

I have to think so: if thou shouldst not be glad,

I would divorce me from thy mother’s tomb,

Sepulchring an adultress.

(to KENT) Oh, are you free?

Some other time for that.

LEAR

I believe you are, Regan. You know why I think so? Because if you weren’t glad, I’d divorce your dead mother, because I’d know she cheated on me. Any true daughter of mine would definitely be glad to see me. (to KENT) Oh, are you free? We’ll talk about it later.

Exit KENT

KENT exits.

Belovèd Regan,

Thy sister’s naught. O Regan, she hath tied

Sharp-toothed unkindness, like a vulture, here.

(indicates his heart)

I can scarce speak to thee. Thou’lt not believe

With how depraved a quality— O Regan!

My dear Regan, your sister’s not worth anything. Oh, Regan, she’s torn me apart with unkindness, like a vulture, right here. (points to his heart) I can hardly speak. You’ll never believe how monstrously—oh, Regan!

REGAN

I pray you, sir, take patience. I have hope

You less know how to value her desert

Than she to scant her duty.

REGAN

Calm down, sir, please. I hope there’s been a misunderstanding. It’s more likely that you don’t know how to appreciate her than that she’d ever fail in her duties as a daughter.

LEAR

Say, how is that?

LEAR

How do you mean?

REGAN

I cannot think my sister in the least

Would fail her obligation. If, sir, perchance

She have restrained the riots of your followers,

’Tis on such ground and to such wholesome end

As clears her from all blame.

REGAN

I can’t believe my sister would neglect her obligations in any way. If she restrained your rowdy knights, she had such a good reason that you can’t blame her for it.

LEAR

My curses on her!

LEAR

I curse her.

REGAN

O sir, you are old.

Nature in you stands on the very verge

Of his confine. You should be ruled and led

By some discretion that discerns your state

Better than you yourself. Therefore I pray you

That to our sister you do make return.

Say you have wronged her, sir.

REGAN

Sir, you’re old. Your life is stretched to its limit. You should let others take care of you and submit to people who know better than you do what’s good for you. Please go back to Goneril’s house. Admit you were wrong.

LEAR

Ask her forgiveness?

Do you but mark how this becomes the house?—

(kneels) “Dear daughter, I confess that I am old.

Age is unnecessary. On my knees I beg

That you’ll vouchsafe me raiment, bed, and food.”

LEAR

Apologize? Do you think this kind of thing is appropriate for the royal family? (he kneels) “Dear daughter, I admit I’m old. Old people are useless. I’m begging you, on my knees, to give me food, clothes, and a bed.”

REGAN

Good sir, no more. These are unsightly tricks.

Return you to my sister.

REGAN

No more, please. These are ugly antics. Go back to my sister’s.

LEAR

(rising) Never, Regan.

She hath abated me of half my train,

Looked black upon me, struck me with her tongue,

Most serpentlike, upon the very heart.

All the stored vengeances of heaven fall

On her ingrateful top! Strike her young bones,

You taking airs, with lameness!

LEAR

(getting up) Never, Regan. She’s sent away half my knights, glared at me, and aimed her venomous insults straight at my heart. She and her ingratitude can go to hell! I hope she gets sick and becomes lame!

CORNWALL

Fie, sir, fie!

CORNWALL

Shush, sir, please!

LEAR

You nimble lightnings, dart your blinding flames

Into her scornful eyes! Infect her beauty,

You fen-sucked fogs drawn by the powerful sun,

To fall and blister!

LEAR

I hope lightning strikes her in the eyes! I hope poisonous swampy fog covers her face and ruins her complexion!

REGAN

O the blessed gods!

So will you wish on me when the rash mood is on.

REGAN

Oh, dear gods! That’s how you’ll talk about me when you’re in this mood.

LEAR

No, Regan, thou shalt never have my curse.

Thy tender-hafted nature shall not give

Thee o’er to harshness. Her eyes are fierce, but thine

Do comfort and not burn. ’Tis not in thee

To grudge my pleasures, to cut off my train,

To bandy hasty words, to scant my sizes,

And in conclusion to oppose the bolt

Against my coming in. Thou better know’st

The offices of nature, bond of childhood,

Effects of courtesy, dues of gratitude.

Thy half o’ th’ kingdom hast thou not forgot,

Wherein I thee endowed.

LEAR

No, Regan. I’ll never curse you. You’re so gentle, you’d never be harsh like her. Her eyes are vicious, but yours are comforting. You’d never deny me my pleasures, downsize my entourage, insult me thoughtlessly, reduce my allowance, or lock me out of the house. You know better than she does how important the duties of a child to a parent are, and the responsibilities that come from gratitude. You haven’t forgotten the half of a kingdom I gave you.

REGAN

Good sir, to the purpose.

REGAN

Sir, let’s get to the point.

LEAR

Who put my man i’ th’ stocks?

LEAR

Who put my messenger in the stocks?

Tucket within

Trumpets play offstage.

CORNWALL

What trumpet’s that?

CORNWALL

What’s that trumpet?

Enter OSWALD the steward

OSWALD enters.

REGAN

I know ’t—my sister’s. This approves her letter

That she would soon be here. (to OSWALD)

Is your lady come?

REGAN

I know it. It’s my sister’s. She’ll be here soon, just like her letter said. (to OSWALD) Has my sister arrived?

LEAR

This is a slave whose easy borrowed pride

Dwells in the fickle grace of her he follows.—

Out, varlet, from my sight!

LEAR

This is a lowlife who basks in the reflection of the fading glory of the woman he works for.—Get out of my sight, scoundrel!

CORNWALL

What means your grace?

CORNWALL

What do you mean, your highness?

Enter GONERIL

GONERIL enters.

LEAR

Who stocked my servant? Regan, I have good hope

Thou didst not know on ’t.—Who comes here? O heavens,

If you do love old men, if your sweet sway

Allow obedience, if yourselves are old,

Make it your cause. Send down, and take my part!

(to GONERIL) Art not ashamed to look upon this beard?—

O Regan, wilt thou take her by the hand?

LEAR

Who put my servant in the stocks? Regan, I hope you didn’t know anything about that.—Ah, who’s this? Dear gods, if you love old men like me, if you believe in obedience, if you yourselves are old, then please send me down some help! (to GONERIL) Aren’t you ashamed to look at me after the way you’ve treated me in my old age?—Oh, Regan, are you taking her by the hand?

GONERIL

Why not by th’ hand, sir? How have I offended?

All’s not offense that indiscretion finds

And dotage terms so.

GONERIL

Why shouldn’t she take my hand, father? How exactly have I offended you? Just because a senile man with poor judgment calls something an insult doesn’t necessarily mean it is one.

LEAR

O sides, you are too tough.

Will you yet hold?—How came my man i’ th’ stocks?

LEAR

Oh, how can the sides of my body hold in my grieving heart?—How did my messenger wind up in the stocks?

CORNWALL

I set him there, sir, but his own disorders

Deserved much less advancement.

CORNWALL

I sent him there, sir, but his crimes deserved a worse punishment.

LEAR

You! Did you?

LEAR

You! You did it?

REGAN

I pray you, father, being weak, seem so.

If till the expiration of your month,

You will return and sojourn with my sister,

Dismissing half your train, come then to me.

I am now from home, and out of that provision

Which shall be needful for your entertainment.

REGAN

Please, father, since you’re weak, act like it. Get rid of half your knights and go back to spend the rest of your month with my sister. Afterward, you can stay with me. Right now I’m away from home and I can’t provide you with proper care.

LEAR

Return to her, and fifty men dismissed?

No, rather I abjure all roofs, and choose

To be a comrade with the wolf and owl—

To wage against the enmity o’ th’ air—

Necessity’s sharp pinch! Return with her?

Why, the hot-blooded France that dowerless took

Our youngest born—I could as well be brought

To knee his throne, and, squirelike, pension beg

To keep base life afoot. Return with her?

Persuade me rather to be slave and sumpter

To this detested groom. (indicates OSWALD)

LEAR

Go back with her? Send away fifty of my knights? No. I’d rather renounce living in a house, and wander in the open air in the hardships of poverty, as a friend of the wolf and the owl. Go back with her? I might as well go before the King of France, who took my youngest daughter without a dowry, kneel before his throne, and beg him to give me a tiny pension to stay alive. Go back with her? I’d rather be a slave or a packhorse for this hateful stablehand here. (he points to OSWALD)

GONERIL

At your choice, sir.

GONERIL

As you wish, sir.

LEAR

Now, I prithee, daughter, do not make me mad.

I will not trouble thee, my child. Farewell.

We’ll no more meet, no more see one another.

But yet thou art my flesh, my blood, my daughter—

Or rather a disease that’s in my flesh,

Which I must needs call mine. Thou art a boil,

A plague-sore or embossèd carbuncle

In my corrupted blood. But I’ll not chide thee.

Let shame come when it will. I do not call it.

I do not bid the thunder-bearer shoot,

Nor tell tales of thee to high-judging Jove.

Mend when thou canst. Be better at thy leisure.

I can be patient. I can stay with Regan,

I and my hundred knights.

LEAR

I beg you, daughter, don’t make me crazy. I won’t bother you. We’ll never see each other again. But you’re still my child, my flesh and blood—or rather you’re a disease in my flesh, a disease I still have to call my own. You’re a pustule, a sore, a tumor digesting my bloodline. But I’ll stop rebuking you. You’ll feel shame when the time is right, and I don’t urge you to be ashamed now. I won’t beg the gods to punish you, or caution you to fear their judgment. Become a better person when you’re ready, if you’re inclined. I’ll wait patiently. Meanwhile I’ll stay with Regan with my hundred knights.

REGAN

Not altogether so, sir.

I looked not for you yet, nor am provided

For your fit welcome. Give ear, sir, to my sister.

For those that mingle reason with your passion

Must be content to think you old, and so—

But she knows what she does.

REGAN

It’s not quite that simple. I wasn’t expecting you, and I’m not ready to receive you. Please hear what Goneril is saying. We’re trying to be reasonable while you’re so upset, and we understand that you’re old, and… But Goneril knows what she’s doing.

LEAR

Is this well spoken now?

LEAR

Do you mean what you’ve just said?

REGAN

I dare avouch it, sir. What, fifty followers?

Is it not well? What should you need of more—

Yea, or so many—sith that both charge and danger

Speak ’gainst so great a number? How, in one house,

Should many people under two commands

Hold amity? ’Tis hard; almost impossible.

REGAN

Yes, I do. Isn’t fifty knights enough for you? Why would you need more than that? Or even that many. Fifty knights are expensive to maintain, and there’s always a risk they’ll rebel. How could so many people, under two masters, get along under one roof? It would be hard, almost impossible.

GONERIL

Why might not you, my lord, receive attendance

From those that she calls servants, or from mine?

GONERIL

Why couldn’t you be attended by my servants, or by Regan’s?

REGAN

Why not, my lord? If then they chanced to slack you,

We could control them. If you will come to me—

For now I spy a danger—I entreat you

To bring but five and twenty. To no more

Will I give place or notice.

REGAN

Yes, why not, my lord? Then if they’re negligent, we could control them. Now that I think about the danger of these knights, if you come to stay with me, please bring no more than twenty-five of them with you. I won’t lodge any more than that under my roof.

LEAR

I gave you all—

LEAR

I gave you everything—

REGAN

And in good time you gave it.

REGAN

And it was about time too.

LEAR

Made you my guardians, my depositaries,

But kept a reservation to be followed

With such a number. What, must I come to you

With five and twenty, Regan? Said you so?

LEAR

I made you de facto rulers of my kingdom on condition that I could keep a hundred knights of my own. Why should I now have to make do with only twenty-five? Regan, is that what you said?

REGAN

And speak ’t again, my lord. No more with me.

REGAN

Yes, I’ll say it again, my lord. No more than twenty-five.

LEAR

Those wicked creatures yet do look well favored

When others are more wicked. Not being the worst

Stands in some rank of praise.

(to GONERIL) I’ll go with thee.

Thy fifty yet doth double five and twenty,

And thou art twice her love.

LEAR

Bad people start to look better in comparison with worse people. Not being the worst daughter deserves some praise, I guess. (to GONERIL) I’ll go stay with you, then. Your fifty is twice her twenty-five, so you must love me twice as much as she does.

GONERIL

Hear me, my lord.

What need you five and twenty, ten, or five

To follow in a house where twice so many

Have a command to tend you?

GONERIL

Hear me out, my lord. Why do you need twenty-five knights, or ten, or even five, when you’re staying in a house with a staff of double that at your service?

REGAN

What need one?

REGAN

Why do you need even one?

LEAR

O, reason not the need! Our basest beggars

Are in the poorest thing superfluous.

Allow not nature more than nature needs,

Man’s life’s as cheap as beast’s. Thou art a lady.

If only to go warm were gorgeous,

Why, nature needs not what thou gorgeous wear’st,

Which scarcely keeps thee warm. But, for true need—

You heavens, give me that patience, patience I need.

You see me here, you gods, a poor old man,

As full of grief as age, wretched in both.

If it be you that stir these daughters’ hearts

Against their father, fool me not so much

To bear it tamely. Touch me with noble anger.

And let not women’s weapons, water drops,

Stain my man’s cheeks! No, you unnatural hags,

I will have such revenges on you both

That all the world shall—I will do such things—

What they are yet I know not, but they shall be

The terrors of the earth. You think I’ll weep?

No, I’ll not weep.

LEAR

Oh, don’t ask me why I “need” them! Even the poorest beggars have some meager possessions they don’t really “need.” If you allow people no more than what they absolutely need to survive, then a human life is no better than an animal’s. You’re a well-dressed lady. If you dressed only to stay warm, you wouldn’t need these gorgeous clothes you’re wearing—which don’t keep you warm at all. If you want to talk about true needs, what I really need is patience. Oh, gods, give me patience! You see me here, gods, a grieving old man, as wretched in his grief as he is in his old age. If you’re the ones setting my daughters against me, don’t let me be foolish enough to take it lying down. Give me noble anger, and don’t let any womanly tears fall down my man’s cheeks. No, you monstrous hags, I’ll get revenge on you both that will make the whole world… I will do such things—I don’t know what I’ll do exactly, but it’ll be devastating. You expect me to cry? Well, I won’t.

Storm and tempest

A storm breaks out.

I have full cause of weeping, but this heart

Shall break into a hundred thousand flaws,

Or ere I’ll weep.—O Fool, I shall go mad!

I have a good reason to cry, but my heart will splinter into a hundred thousand pieces before I let myself cry.—Oh, Fool, I’ll go mad!

Exeunt LEAR, GENTLEMAN, FOOL, and GLOUCESTER

King LEAR, the GENTLEMAN, and the FOOL exit with GLOUCESTER.

CORNWALL

Let us withdraw. ’Twill be a storm.

CORNWALL

Let’s go inside. There’s going to be a storm.

REGAN

This house is little. The old man and his people

Cannot be well bestowed.

REGAN

This is a small house. There’s no room for the old man and his followers.

GONERIL

’Tis his own blame. Hath put himself from rest,

And must needs taste his folly.

GONERIL

It’s his fault that he’s all worked up like this. He has to pay the price for his foolish actions.

REGAN

For his particular I’ll receive him gladly,

But not one follower.

REGAN

I’ll be happy to keep him in my house, but not a single knight.

GONERIL

So am I purposed.

Where is my lord of Gloucester?

GONERIL

That’s what I intend to do too. Where is Gloucester?

CORNWALL

Followed the old man forth. He is returned.

CORNWALL

He followed the old man. Here he comes back.

Enter GLOUCESTER

GLOUCESTER returns.

GLOUCESTER

The king is in high rage.

GLOUCESTER

The king is enraged.

CORNWALL

Whither is he going?

CORNWALL

Where’s he going?

GLOUCESTER

He calls to horse, but will I know not whither.

GLOUCESTER

He has called for his horse, but I don’t know where he’s headed.

CORNWALL

’Tis best to give him way. He leads himself.

CORNWALL

It’s best just to let him go. He won’t listen to anyone’s advice.

GONERIL

(to GLOUCESTER) My lord, entreat him by no means to stay.

GONERIL

(to GLOUCESTER) My lord, don’t try to persuade him to stay.

GLOUCESTER

Alack, the night comes on, and the high winds

Do sorely ruffle. For many miles about

There’s scarce a bush.

GLOUCESTER

Ah, but it’s getting dark, and the winds are strong and stormy. There’s hardly a bush for miles around. He’ll have no shelter.

REGAN

O sir, to wilful men,

The injuries that they themselves procure

Must be their schoolmasters. Shut up your doors.

He is attended with a desperate train.

And what they may incense him to, being apt

To have his ear abused, wisdom bids fear.

REGAN

Oh, sir, impetuous people learn their lessons from the consequences of their foolish actions. Lock the doors. His attendants are desperate, violent men. I’m afraid of what they might encourage him to do, considering the state he’s in.

CORNWALL

Shut up your doors, my lord. ’Tis a wild night.

My Regan counsels well. Come out o’ th’ storm.

CORNWALL

Lock the doors, my lord. It’s a wild night. Regan gives good advice. Come in out of the storm.

Exeunt

They all exit.

Act 3, Scene 1

Storm still Enter KENT disguised and GENTLEMAN, severally

The storm continues to rage. KENT enters in disguise. The GENTLEMAN enters from a different direction.

KENT

Who’s there, besides foul weather?

KENT

Who’s there, aside from this foul weather?

GENTLEMAN

One minded like the weather, most unquietly.

GENTLEMAN

Someone whose mood is as foul as the weather, very troubled.

KENT

I know you. Where’s the king?

KENT

I know you. Where’s the king?

GENTLEMAN

Contending with the fretful elements.

Bids the winds blow the earth into the sea

Or swell the curlèd water ’bove the main,

That things might change or cease. Tears his white hair,

Which the impetuous blasts, with eyeless rage,

Catch in their fury and make nothing of.

Strives in his little world of man to outscorn

The to-and-fro-conflicting wind and rain.

This night—wherein the cub-drawn bear would couch,

The lion and the belly-pinchèd wolf

Keep their fur dry—unbonneted he runs,

And bids what will take all.

GENTLEMAN

Struggling with the wind and rain. He’s shouting at the wind to blow the earth into the sea, or make the sea flood the earth—he wants to see the world return to primal chaos. He keeps tearing out his white hair, which the blindly raging winds catch up and blow away into nothingness. Small but brave in his surroundings, he’s trying to stand up against the wind and rain blowing back and forth. He’s running bareheaded, calling for the end of the world, out there on a night like this, when even savage animals ravenous with hunger crawl under cover and hide.

KENT

But who is with him?

KENT

But who’s with him?

GENTLEMAN

None but the fool, who labors to outjest

His heart-struck injuries.

GENTLEMAN

Nobody but the fool, who’s trying to soothe the wounds in the king’s heart with jokes.

KENT

Sir, I do know you,

And dare upon the warrant of my note

Commend a dear thing to you. There is division,

Although as yet the face of it be covered

With mutual cunning, ’twixt Albany and Cornwall,

Who have—as who have not that their great stars

Throned and set high?—servants, who seem no less,

Which are to France the spies and speculations

Intelligent of our state. What hath been seen,

Either in snuffs and packings of the dukes,

Or the hard rein which both of them hath borne

Against the old kind king, or something deeper,

Whereof perchance these are but furnishings—

But true it is. From France there comes a power

Into this scattered kingdom, who already,

Wise in our negligence, have secret feet

In some of our best ports and are at point

To show their open banner. Now to you.

If on my credit you dare build so far

To make your speed to Dover, you shall find

Some that will thank you, making just report

Of how unnatural and bemadding sorrow

The king hath cause to plain.

I am a gentleman of blood and breeding,

And from some knowledge and assurance offer

This office to you.

KENT

Sir, I know you, and I trust you enough to share something very important with you. There’s a feud between Albany and Cornwall, although they’ve been clever enough to hide it thus far. Like other powerful rulers, they have servants who are actually French spies in disguise. These spies have noticed something, perhaps in the squabbles between Albany and Cornwall, or in the tough line both of them have taken against the good old king, or perhaps in some deeper matter at the root of both of these problems—The point is that the King of France has sent troops into our divided kingdom. Some French agents are already at work in our main ports and are on the verge of declaring open war. Now this is where you come in. If you trust me enough to hurry to Dover, you’ll earn the gratitude of many people when you fairly report the monstrous and maddening extent of the king’s suffering. I’m a nobleman, and I know what I’m doing in assigning this job to you.

GENTLEMAN

I will talk further with you.

GENTLEMAN

Let’s discuss it some more.

KENT

(giving GENTLEMAN a purse and a ring)

No, do not.

For confirmation that I am much more

Than my outwall, open this purse and take

What it contains. If you shall see Cordelia—

As fear not but you shall—show her this ring.

And she will tell you who that fellow is

That yet you do not know. Fie on this storm!

I will go seek the king.

KENT

(giving the GENTLEMAN a purse and a ring) No, there’s no need. To assure you that I am a nobleman in disguise, here is some money. If you see Cordelia—as I’m sure you will—show her this ring. She’ll tell you who I am. Damn this storm! I’ll go find the king.

GENTLEMAN

Give me your hand. Have you no more to say?

GENTLEMAN

Let me shake your hand. Do you have anything else to tell me?

KENT

Few words, but to effect more than all yet:

That when we have found the king—in which your pain

That way; I’ll this—he that first lights on him

Holla the other.

KENT

Only a few more words, but they’re the most important. Let me go this way, and you go that way. When one of us finds the king, he’ll call out to the other one.

Exeunt severally

They exit in opposite directions.

Act 3, Scene 2

Storm still Enter LEAR and FOOL

The storm continues. LEAR and the FOOL enter.

LEAR

Blow, winds, and crack your cheeks! Rage, blow!

You cataracts and hurricanoes, spout

Till you have drenched our steeples, drowned the cocks!

You sulfurous and thought-executing fires,

Vaunt-couriers of oak-cleaving thunderbolts,

Singe my white head! And thou, all-shaking thunder,

Smite flat the thick rotundity o’ th’ world,

Crack nature’s molds, all germens spill at once

That make ingrateful man!

LEAR

Blow, winds! Blow until your cheeks crack! Rage on, blow! Let tornadoes spew water until the steeples of our churches and the weathervanes are all drowned. Let quick sulfurous lightning, strong enough to split enormous trees, singe the white hair on my head. Let thunder flatten the spherical world, crack open all the molds from which nature forms human beings, and spill all the seeds from which ungrateful humans grow!

FOOL

O nuncle, court holy water in a dry house is better than this rainwater out o’ door. Good nuncle, in, and ask thy daughters blessing. Here’s a night pities neither wise man nor fool.

FOOL

Oh, uncle, it’s better to smile and flatter indoors where it’s dry than get soaked out here. Please, uncle, let’s go in and ask your daughters to forgive you. This storm has no pity for either wise men or fools.

LEAR

Rumble thy bellyful! Spit, fire! Spout, rain!

Nor rain, wind, thunder, fire are my daughters.

I tax not you, you elements, with unkindness.

I never gave you kingdom, called you children.

You owe me no subscription. Why then, let fall

Your horrible pleasure. Here I stand, your slave—

A poor, infirm, weak, and despised old man.

But yet I call you servile ministers,

That will with two pernicious daughters joined

Your high engendered battles ’gainst a head

So old and white as this. Oh, ho! ’Tis foul.

LEAR

Let thunder rumble! Let lightning spit fire! Let the rain spray! The rain, the wind, the thunder and lightning are not my daughters. Nature, I don’t accuse your weather of unkindness. I never gave you a kingdom or raised you as my child, and you don’t owe me any obedience. So go ahead and have your terrifying fun. Here I am, your slave—a poor, sick, weak, hated old man. But I can still accuse you of kowtowing, taking my daughters’ side against me, ancient as I am. Oh, it’s foul!

FOOL

He that has a house to put ’s head in has a good headpiece.

The codpiece that will house

Before the head has any—

The head and he shall louse.

So beggars marry many.

The man that makes his toe

What he his heart should make

Shall of a corn cry woe,

And turn his sleep to wake.

For there was never yet fair woman but she made mouths

in a glass.

FOOL

Anyone who has a house to cover his head has a good head on his shoulders.

The guy who finds a place to put his penis

Before he has a house of his own

Will wind up dirt poor and covered with lice

With a crowd of slut daughters to add to the slut wife.

The man who kicks away

The person he should love

Will bring himself pain

And sleepless nights.

For there never was a pretty woman who didn’t like to preen in the mirror.

Enter KENT disguised

KENT enters in disguise.

LEAR

No, I will be the pattern of all patience.

I will say nothing.

LEAR

No, I’ll be patient. I won’t say a word.

KENT

Who’s there?

KENT

Who’s there?

FOOL

Marry, here’s grace and a codpiece—that’s a wise man and a fool.

FOOL

A wise man and a fool.

KENT

(to LEAR) Alas, sir, are you here? Things that love night

Love not such nights as these. The wrathful skies

Gallow the very wanderers of the dark

And make them keep their caves. Snce I was man,

Such sheets of fire, such bursts of horrid thunder,

Such groans of roaring wind and rain I never

Remember to have heard. Man’s nature cannot carry

Th’ affliction nor the fear.

KENT

(to LEAR) Ah, sir, you’re here? Even creatures of the night aren’t out tonight in this storm. The angry skies terrify the animals that usually prowl in the dark, making them stay in their caves. Never in my life have I heard such horrible blasts of thunder, such a roaring downpour, such groaning winds. It’s too trying and terrifying for humans to bear.

LEAR

Let the great gods

That keep this dreadful pudder o’er our heads

Find out their enemies now. Tremble, thou wretch

That hast within thee undivulgèd crimes

Unwhipped of justice. Hide thee, thou bloody hand,

Thou perjured, and thou simular man of virtue

That art incestuous. Caitiff, to pieces shake,

That under covert and convenient seeming

Hast practiced on man’s life. Close pent-up guilts,

Rive your concealing continents and cry

These dreadful summoners grace. I am a man

More sinned against than sinning.

LEAR

Let the gods who stirred up this dreadful storm bring their enemies to light. Any wretched person who has committed secret crimes and escaped justice should tremble in fear now. Better hide now, you murderers, you perjurers, you incest-practicing people who pretend to be virtuous. Tremble and shake, villain, for secretly plotting against human lives. Let all your bottled-up crimes come flooding out at last, as you beg for mercy from the gods who summon these terrifying winds and thunderbolts. Other people have sinned against me more than I have sinned against them.

KENT

Alack, bareheaded?

Gracious my lord, hard by here is a hovel.

Some friendship will it lend you ’gainst the tempest.

Repose you there, while I to this hard house—

More harder than the stones whereof ’tis raised,

Which even but now, demanding after you,

Denied me to come in—return, and force

Their scanted courtesy.

KENT

Why, you’re not even wearing a hat? My lord, there’s a hut nearby. It will give you some protection from this storm. Rest there while I go back to the unfriendly house where your sisters are staying, and ask them for help. They are harder than the stones the house is made of. Just now, when I asked them if they knew where you were, they wouldn’t let me in. But I’ll go back and force them to be polite.

LEAR

My wits begin to turn.—

(to FOOL)

Come on, my boy. How dost, my boy? Art cold?

I am cold myself.

(to KENT)

Where is this straw, my fellow?

The art of our necessities is strange

That can make vile things precious. Come, your hovel.

Poor fool and knave, I have one part in my heart

That’s sorry yet for thee.

LEAR

I’m starting to lose my mind. (to the FOOL) Come on, my boy. How are you? Are you cold? I’m cold myself. (to KENT) Where’s this hut, man? Odd how when you’re desperate, even shoddy things like this hut can seem precious. Show me where that hut is. Poor fool, part of me still feels sorry for you.

FOOL

(sings)

He that has and a little tiny wit—

With heigh-ho, the wind and the rain—

Must make content with his fortunes fit,

For the rain it raineth every day.

FOOL

(singing)

The stupid man—

Hey-hoy, the wind and the rain—

Must take what he can get,

Since the rain comes every day.

LEAR

True, my good boy.—Come, bring us to this hovel.

LEAR

That’s true, my good boy.—Come on, take us to that hut.

Exeunt LEAR and KENT

LEAR and KENT exit.

FOOL

This is a brave night to cool a courtesan.

I’ll speak a prophecy ere I go.

When priests are more in word than matter,

When brewers mar their malt with water,

When nobles are their tailors’ tutors,

No heretics burned but wenches’ suitors,

When every case in law is right,

No squire in debt nor no poor knight,

When slanders do not live in tongues,

Nor cutpurses come not to throngs,

When usurers tell their gold i’ th’ field,

And bawds and whores do churches build—

Then shall the realm of Albion

Come to great confusion.

Then comes the time, who lives to see ’t,

That going shall be used with feet.

This prophecy Merlin shall make, for I live before his time.

FOOL

This would be a great night to satisfy a whore’s lust. I’ll recite a prophecy before I go.

One day, when priests don’t practice what they preach,

When brewers dilute their beer with water,

When noblemen teach their tailors how to sew,

When instead of heretics being burned at the stake, lovers are burned by syphilis,

When every law case is tried fairly,

When no gentleman is in debt,

When no one slanders anyone else,

And thieves don’t snatch wallets in crowds,

When moneylenders count their gold in the open air,

And pimps and whores build fine churches—

Then the kingdom of England

Will come to ruin.

And whoever lives to see that day

Will walk with his feet.

This is the prophecy that the wizard Merlin will make one day. I’m a little ahead of my time in saying it now.

Exit

He exits.

Act 3, Scene 3

Enter GLOUCESTER and EDMUND the bastard, with lights

GLOUCESTER and EDMUND enter with torches.

GLOUCESTER

Alack, alack, Edmund, I like not this unnatural dealing. When I desire their leave that I might pity him, they took from me the use of mine own house, charged me on pain of their perpetual displeasure neither to speak of him, entreat for him, nor any way sustain him.

GLOUCESTER

Oh, oh, Edmund, I don’t like this monstrous business. When asked the Duke and Duchess of Cornwall if I could take pity on the king and shelter him from the storm, they took my house away from me and ordered me never to talk about him, lobby for him, or support him in any way.

EDMUND

Most savage and unnatural!

EDMUND

That’s uncivilized and unnatural!

GLOUCESTER

Go to, say you nothing. There’s a division betwixt the dukes. And a worse matter than that: I have received a letter this night. ’Tis dangerous to be spoken. I have locked the letter in my closet. These injuries the king now bears will be revenged home. There’s part of a power already footed. We must incline to the king. I will look him and privily relieve him. Go you and maintain talk with the duke, that my charity be not of him perceived. If he ask for me, I am ill and gone to bed. Though I die for it—as no less is threatened me—the king my old master must be relieved. There is some strange thing toward, Edmund. Pray you, be careful.

GLOUCESTER

Oh, be quiet. There’s a feud between the two dukes. And there’s something even worse than that. I got a letter tonight. It’s dangerous to talk about it. I’ve locked it up in my room. The humiliation that the king is suffering now will be revenged thoroughly. Armed forces have already landed. We have to take the king’s side. I’ll look for him and secretly help him. You go and talk to the duke so he won’t notice I’m helping the king. If he asks to see me, tell him I’m sick and went to bed. Even if I have to die—as they threaten—I have to help the king. Strange things are about to happen, Edmund. Please be careful.

Exit GLOUCESTER

GLOUCESTER exits.

EDMUND

This courtesy, forbid thee, shall the duke

Instantly know, and of that letter too.

This seems a fair deserving, and must draw me

That which my father loses—no less than all.

The younger rises when the old doth fall.

EDMUND

I’ll tell the duke right away that you’re going to see the king, which is forbidden. And I’ll tell him about the letter too. You’ll get what you deserve, and I’ll be rewarded with everything you lose—in other words, all your lands. The young generation rises while the old one falls.

Exit

He exits.

Act 3, Scene 4

Enter LEAR, KENT disguised, and FOOL

LEAR enters with KENT in disguise and the FOOL.

KENT

Here is the place, my lord. Good my lord, enter.

The tyranny of the open night’s too rough

For nature to endure.

KENT

Here’s the hut, my lord. Please go inside. The night’s too rough for humans to bear.

Storm still

The storm continues.

LEAR

Let me alone.

LEAR

Leave me for a bit.

KENT

Good my lord, enter here.

KENT

My lord, here is the entrance.

LEAR

Wilt break my heart?

LEAR

Will you break my heart?

KENT

I had rather break mine own. Good my lord, enter.

KENT

I’d rather break my own heart. Now please go in.

LEAR

Thou think’st ’tis much that this contentious storm

Invades us to the skin. So ’tis to thee.

But where the greater malady is fixed

The lesser is scarce felt. Thou’dst shun a bear,

But if thy flight lay toward the raging sea

Thou’dst meet the bear i’ th’ mouth. When the mind’s free,

The body’s delicate. The tempest in my mind

Doth from my senses take all feeling else

Save what beats there—filial ingratitude.

Is it not as this mouth should tear this hand

For lifting food to ’t? But I will punish home.

No, I will weep no more. In such a night

To shut me out! Pour on, I will endure.

In such a night as this! O Regan, Goneril,

Your old kind father, whose frank heart gave all—

Oh, that way madness lies. Let me shun that.

No more of that.

LEAR

You think it’s a big deal that this fierce storm is soaking me to the skin. It’s a big deal to you. But whenever you feel a larger pain, the smaller one disappears. You would run away from a bear, but if the only way to run was into the stormy ocean, you’d turn around and confront the bear. When your mind is at peace, your body is sensitive to the elements. But this storm in my mind keeps me from feeling anything except what’s tormenting me—how ungrateful my children are! Isn’t their ingratitude like the mouth biting the hand that feeds it? But I’ll punish them thoroughly. No, I won’t cry any more. Imagine them locking me out on a night like this! But let it rain; I’ll survive. On a night like this! Oh, Regan, Goneril, your kind old father whose generous heart gave you everything—Oh, if I think about that I’ll go mad. I want to avoid that. No more of these thoughts.

KENT

Good my lord, enter here.

KENT

My lord, please go inside here.

LEAR

Prithee, go in thyself. Seek thine own ease.

This tempest will not give me leave to ponder

On things would hurt me more. But I’ll go in.

(to FOOL) In, boy. Go first. You houseless poverty—

Nay, get thee in. I’ll pray, and then I’ll sleep.

LEAR

Go inside yourself. Make yourself comfortable. This storm protects me from thoughts that would hurt me more. But I’ll go in. (to FOOL) You go in first, boy. Oh, you suffering homeless people—No, you go in. I’ll pray first, then I’ll sleep.

Exit FOOL

The FOOL exits.

Poor naked wretches, whereso’er you are,

That bide the pelting of this pitiless storm,

How shall your houseless heads and unfed sides,

Your looped and windowed raggedness, defend you

From seasons such as these? Oh, I have ta’en

Too little care of this! Take physic, pomp.

Expose thyself to feel what wretches feel,

That thou mayst shake the superflux to them

And show the heavens more just.

Poor homeless creatures suffering this storm, wherever you are, how will you survive a night like this with no roof over your heads, no fat on your sides to keep you warm, and only rags for clothes? When I was king I didn’t do enough to help you. Powerful men, take your medicine by learning about hardship. Go out and feel what the impoverished feel. Then you can give them your extra wealth and make the world more fair.

EDGAR

(within) Fathom and half, fathom and half! Poor Tom!

EDGAR

(from inside) The water in here is nine feet deep! Poor Tom!

Enter FOOL

FOOL enters.

FOOL

Come not in here, nuncle. Here’s a spirit. Help me, help me!

FOOL

Don’t come in here, uncle! There’s a spirit in here! Help me, help me!

KENT

Give me thy hand. Who’s there?

KENT

Give me your hand. Who’s there?

FOOL

A spirit, a spirit. He says his name’s Poor Tom.

FOOL

A ghost, a ghost! He says his name’s Poor Tom.

KENT

What art thou that dost grumble there i’ th’ straw?

Come forth.

KENT

Who are you, moaning in the hut like that? Come out.

Enter EDGAR disguised

EDGAR enters disguised.

EDGAR

Away! The foul fiend follows me! Through the sharp hawthorn blows the cold wind. Hum! Go to thy cold bed and warm thee.

EDGAR

Go away! The devil’s after me! The cold wind blows through the hawthorn trees. Ha! Get into your cold beds and warm yourselves up.

LEAR

Didst thou give all to thy two daughters, and art thou come to this?

LEAR

Did you give everything to your two daughters and end up like this?

EDGAR

Who gives any thing to Poor Tom, whom the foul fiend hath led through fire and through flame, through ford and whirlipool, o’er bog and quagmire; that hath laid knives under his pillow and halters in his pew, set ratsbane by his porridge, made him proud of heart to ride on a bay trotting- horse over four-inched bridges to course his own shadow for a traitor? Bless thy five wits. Tom’s a-cold. Oh, do-de, do-de, do-de. Bless thee from whirlwinds, star-blasting, and taking! Do Poor Tom some charity, whom the foul fiend vexes. There could I have him now—and there—and there again—and there.

EDGAR

Whoever gave a thing to Poor Tom? The devil has chased him through fires, across rivers and whirlpools, and over swamps. The devil has put knives under Tom’s pillow and hangman’s ropes in his church pew, encouraging him to kill himself. The devil has put rat poison next to Poor Tom’s oatmeal and made him gallop his horse over narrow bridges, chasing his own shadow as if it were a traitor. Bless your five senses! Tom’s chilly. Oh do-de, do-de, do-de. God protect you from tornadoes, evil stars, and diseases! Take pity on Poor Tom, who is persecuted by the devil. I can almost catch him. There!… And over there!… And over there!

Storm still

The storm continues.

LEAR

What, has his daughters brought him to this pass?—

Couldst thou save nothing? Wouldst thou give ’em all?

LEAR

Have his daughters made him crazy like this?—Couldn’t you have kept something for yourself? Did you have to give them everything?

FOOL

Nay, he reserved a blanket, else we had been all shamed.

FOOL

No, he kept a blanket to cover himself with. If he hadn’t, we’d all be embarrassed to look at him.

LEAR

Now all the plagues that in the pendulous air

Hang fated o’er men’s faults light on thy daughters!

LEAR

Then may your daughters be cursed with all the horrible fates that await sinners!

KENT

He hath no daughters, sir.

KENT

He doesn’t have any daughters, sir.

LEAR

Death, traitor! Nothing could have subdued nature

To such a lowness but his unkind daughters.

Is it the fashion that discarded fathers

Should have thus little mercy on their flesh?

Judicious punishment! ’Twas this flesh begot

Those pelican daughters.

LEAR

Like hell! Nothing but cruel daughters could have degraded him like this. Is it fashionable now for neglected fathers to get so little pity? That’s a fair punishment! I’m the one who fathered those bloodsucking daughters.

EDGAR

Pillicock sat on Pillicock hill. Alow, alow, loo, loo!

EDGAR

Pillicock sat on Pillicock hill. La, la, la, la!

FOOL

This cold night will turn us all to fools and madmen.

FOOL

This stormy night will turn us all into fools and madmen.

EDGAR

Take heed o’ th’ foul fiend. Obey thy parents, keep thy word’s justice, swear not, commit not with man’s sworn spouse, set not thy sweet heart on proud array. Tom’s a- cold.

EDGAR

Beware of the devil. Obey your parents, keep your word, don’t swear, don’t sleep with another man’s wife, and don’t covet flashy clothes. Tom’s chilly.

LEAR

What hast thou been?

LEAR

What were you before this?

EDGAR

A servingman, proud in heart and mind, that curled my hair, wore gloves in my cap, served the lust of my mistress’ heart and did the act of darkness with her, swore as many oaths as I spake words and broke them in the sweet face of heaven—one that slept in the contriving of lust and waked to do it. Wine loved I deeply, dice dearly, and in woman outparamoured the Turk. False of heart, light of ear, bloody of hand—hog in sloth, fox in stealth, wolf in greediness, dog in madness, lion in prey. Let not the creaking of shoes nor the rustling of silks betray thy poor heart to woman. Keep thy foot out of brothels, thy hand out of plackets, thy pen from lenders’ books, and defy the foul fiend. Still through the hawthorn blows the cold wind, says, “Suum, mun, nonny.” Dauphin my boy, my boy, cessez. Let him trot by.

EDGAR

I used to be an honorable devoted servant who curled his hair, wore his mistress’ glove in his hat as a token of her affection, and slept with his mistress whenever she wanted. I swore oaths with every other word out of my mouth, and broke the oaths shamelessly. I used to dream of having sex and wake up to do it. I loved wine and gambling, and had more women than a Turkish sultan keeps in his harem. I was disloyal and violent. I eavesdropped. I was as lazy as a hog, as sneaky as a fox, as greedy as a wolf, as mad as a dog, and as ruthless as a lion. Don’t ever let a woman know what you’re thinking. Stay away from whores, don’t chase skirts, don’t borrow money, and resist the devil. The cold wind’s still blowing through the hawthorn tree. (speaking to an imaginary horse) Dauphin, my boy, stop that.—Let the horse go by.

Storm still

The storm continues.

LEAR

Why, thou wert better in thy grave than to answer with thy uncovered body this extremity of the skies.—Is man no more than this? Consider him well.—Thou owest the worm no silk, the beast no hide, the sheep no wool, the cat no perfume. Ha! Here’s three on ’s are sophisticated. Thou art the thing itself.

Unaccommodated man is no more but such a poor, bare, forked animal as thou art.—

Off, off, you lendings! Come. Unbutton here. (tears at his clothes)

LEAR

You’d be better off dead than facing the storm as naked as you are. Is this all a human being is? Look at him. (to EDGAR) You are not indebted to animals for your clothes since don’t wear silk, leather, or wool—not even perfume. Ha! The three of us are sophisticated compared to you. You’re the real thing.

The human being unburdened by the trappings of civilization is no more than a poor, naked, two-legged animal like you.

Off with these clothes borrowed from animals! Let me unbutton this. (he tears at his clothes)

Enter GLOUCESTER with a torch

GLOUCESTER enters with a torch.

FOOL

Prithee, nuncle, be contented. ’Tis a naughty night to swim in. Now a little fire in a wild field were like an old lecher’s heart—a small spark, all the rest on ’s body cold. Look, here comes a walking fire.

FOOL

Please calm down, uncle. This is a nasty night to go swimming. On a night like this a campfire in an empty field would be like the heart of a dirty old man—a tiny spark in a cold body. Look, here comes a walking fire.

EDGAR

This is the foul fiend Flibbertigibbet. He begins at curfew and walks till the first cock. He gives the web and the pin, squints the eye and makes the harelip, mildews the white wheat and hurts the poor creature of earth.

Swithold footed thrice the ’old.

He met the nightmare and her ninefold,

Bid her alight,

And her troth plight.

And aroint thee, witch, aroint thee!

EDGAR

This is the devil Flibbertigibbet. He gets up at nightfall and wanders around till dawn. He can make your eyes squint and film over and give you a harelip. He rots ripened wheat and hurts the poor creatures of the earth.

Saint Withold crossed the field three times,

He met a she-demon and her nine kids,

He told her to promise

To stop doing harm.

And go away, witch, go away.

KENT

How fares your grace?

KENT

How are you, your highness?

LEAR

(indicating GLOUCESTER) What’s he?

LEAR

(pointing at GLOUCESTER) Who’s that?

KENT

Who’s there? What is ’t you seek?

KENT

Who are you? What do you want?

GLOUCESTER

What are you there? Your names?

GLOUCESTER

Who are you? What are your names?

EDGAR

Poor Tom, that eats the swimming frog, the toad, the tadpole, the wall newt, and the water; that in the fury of his heart, when the foul fiend rages, eats cow dung for salads, swallows the old rat and the ditch-dog, drinks the green mantle of the standing pool; who is whipped from tithing to tithing and stocked, punished and imprisoned; who hath had three suits to his back, six shirts to his body, Horse to ride and weapon to wear. But mice and rats and such small deer Have been Tom’s food for seven long year. Beware my follower. Peace, Smulkin. Peace, thou fiend!

EDGAR

Poor Tom, who eats frogs, toads, tadpoles, lizards, and newts. When the devil tells me to, I eat cow dung for salads, I swallow old rats and dead dogs, I drink pond scum. In every village I’m whipped and put in the stocks, punished and imprisoned. But I used to be a respectable servant, with three suits and six shirts. Once I had a horse to ride and a sword to wear, but now poor Tom’s been eating rats and mice for seven long years. Beware of the devil who follows me around. Calm down, Smulkin, you fiend!

GLOUCESTER

(to LEAR) What, hath your grace no better company?

GLOUCESTER

(to LEAR) Don’t you have anyone more respectable with you, your highness?

EDGAR

The Prince of Darkness is a gentleman. Modo he’s called, and Mahu.

EDGAR

Oh, the devil is quite a gentleman. He’s called Modo and Mahu.

GLOUCESTER

(to LEAR) Our flesh and blood, my lord, is grown so vile

That it doth hate what gets it.

GLOUCESTER

(to LEAR) My lord, our children have become so beastly that they hate their own parents.

EDGAR

Poor Tom’s a-cold.

EDGAR

Poor Tom’s chilly.

GLOUCESTER

Go in with me. My duty cannot suffer

To obey in all your daughters’ hard commands.

Though their injunction be to bar my doors

And let this tyrannous night take hold upon you,

Yet have I ventured to come seek you out

And bring you where both fire and food is ready.

GLOUCESTER

Come back to my house with me. I couldn’t bear to obey all of your daughters’ harsh orders. They commanded me to lock my doors and leave you out in this merciless storm, but I’ve come out here to find you and take you where there’s warmth and food.

LEAR

First let me talk with this philosopher.—

(to EDGAR) What is the cause of thunder?

LEAR

First let me talk with this philosopher here.—(to EDGAR) What causes thunder?

KENT

(to LEAR) Good my lord, take his offer. Go into the house.

KENT

(to LEAR) Sir, please take him up on his offer and go back with him.

LEAR

I’ll talk a word with this same learnèd Theban.—

What is your study?

LEAR

I want to chat a bit with this wise Greek man.—What kind of philosophy do you study?

EDGAR

How to prevent the fiend and to kill vermin.

EDGAR

How to keep the devil away and kill rats.

LEAR

Let me ask you one word in private.

LEAR

Let me ask you something in private.

LEAR and EDGAR talk aside

LEAR and EDGAR talk privately.

KENT

(aside to GLOUCESTER) Importune him once more to go, my lord.

His wits begin t’ unsettle.

KENT

(speaking so that only GLOUCESTER can hear) Ask him again to return with you, my lord. He’s beginning to lose his mind.

GLOUCESTER

Canst thou blame him?

GLOUCESTER

Can you blame him?

Storm still

The storm continues.

His daughters seek his death. Ah, that good Kent—

He said it would be thus, poor banished man.

Thou say’st the king grows mad. I’ll tell thee, friend,

I am almost mad myself. I had a son,

Now outlawed from my blood. He sought my life,

But lately, very late. I loved him, friend—

No father his son dearer. Truth to tell thee,

The grief hath crazed my wits. What a night’s this!

(to LEAR) I do beseech your grace—

His daughters want to kill him. Ah, good old Kent said this would happen—that poor, banished man. You say the king is losing his mind. Let me tell you, my friend, I’m almost insane myself. I had a son, whom I’ve legally disowned. He tried to kill me recently, very recently. I loved him, as much as any father ever loved his son. To tell you the truth, I’m crazed with grief. What a storm! (to LEAR) Your highness, please, I’m begging you—

LEAR

O, cry your mercy, sir.—

(to EDGAR) Noble philosopher, your company.

LEAR

Excuse me, sir.—(to EDGAR) Noble philosopher, come talk to me.

EDGAR

Tom’s a-cold.

EDGAR

Tom’s chilly.

GLOUCESTER

In, fellow. There, into th’ hovel. Keep thee warm.

GLOUCESTER

Get into the hut, man. Stay warm.

LEAR

Come let’s in all.

LEAR

Come on, let’s all go inside.

KENT

This way, my lord.

KENT

This way, my lord.

LEAR

(indicating EDGAR)

With him!

I will keep still with my philosopher.

LEAR

(pointing to EDGAR) I’ll go with him. I want to stay with my philosopher.

KENT

(to GLOUCESTER)

Good my lord, soothe him. Let him take the fellow.

KENT

(to GLOUCESTER) My lord, calm him down. Let him take that guy inside too.

GLOUCESTER

Take him you on.

GLOUCESTER

All right, bring him along.

KENT

(to EDGAR) Sirrah, come on. Go along with us.

KENT

(to EDGAR) Boy, come along with us.

LEAR

Come, good Athenian.

LEAR

Come on, my dear Greek philosopher.

GLOUCESTER

No words, no words. Hush.

GLOUCESTER

Hush, don’t talk.

EDGAR

Child Roland to the dark tower came,

His word was still “Fie, foh, and fum,

I smell the blood of a British man.”

EDGAR

The young knight Roland came to the dark tower.

He said, “Fee, fie, fo, fum,

I smell the blood of an Englishman.”

Exeunt

They all exit.

Act 3, Scene 5

Enter CORNWALL and EDMUND

CORNWALL enters with EDMUND.

CORNWALL

I will have my revenge ere I depart his house.

CORNWALL

I’ll get my revenge before I leave this house.

EDMUND

How, my lord, I may be censured, that nature thus gives way to loyalty, something fears me to think of.

EDMUND

I’m afraid to think how I’ll be criticized for letting my natural affection for my father give way to my loyalty to you.

CORNWALL

I now perceive it was not altogether your brother’s evil disposition made him seek his death, but a provoking merit set awork by a reprovable badness in himself.

CORNWALL

Now I realize your brother tried to kill your father not just because your brother is an evil man, but because your father deserved it by being wicked himself.

EDMUND

How malicious is my fortune, that I must repent to be just! (giving CORNWALL a letter) This is the letter which he spoke of, which approves him an intelligent party to the advantages of France. O heavens, that this treason were not, or not I the detector!

EDMUND

How unlucky am I, having to apologize for doing the right thing! (giving CORNWALL a letter) This is the letter he was talking about, and it confirms he was a spy for France. Oh God, I wish he had never betrayed us, or that I hadn’t been the one to discover his treason.

CORNWALL

Go with me to the duchess.

CORNWALL

Come with me to see the duchess.

EDMUND

If the matter of this paper be certain, you have mighty business in hand.

EDMUND

If this letter’s right, you’ve got a lot to deal with.

CORNWALL

True or false, it hath made thee Earl of Gloucester. Seek out where thy father is, that he may be ready for our apprehension.

CORNWALL

Right or not, it’s made you the Earl of Gloucester. Go find your father and let him know we’re going to arrest him.

EDMUND

(aside) If I find him comforting the king, it will stuff his suspicion more fully. (to CORNWALL) I will persevere in my course of loyalty, though the conflict be sore between that and my blood.

EDMUND

(to himself) If I catch my father helping the king, he’ll seem even more guily. (to CORNWALL) I’ll do what I must loyally, even though it pains me to take action against my father.

CORNWALL

I will lay trust upon thee, and thou shalt find a dearer father in my love.

CORNWALL

I put my trust in you. You’ll see that I’m a better father to you than Gloucester.

Exeunt

They exit.

Act 3, Scene 6

Enter GLOUCESTER, LEAR, KENT disguised, FOOL, and EDGAR disguised

GLOUCESTER enters with LEAR, the FOOL, and KENT and EDGAR, both in disguise.

GLOUCESTER

Here is better than the open air. Take it thankfully. I will piece out the comfort with what addition I can. I will not be long from you.

GLOUCESTER

It’s better here than outside. Be happy about it. I’ll do what I can to make you even more comfortable. I won’t be gone long.

KENT

All the power of his wits have given way to his impatience.

The gods reward your kindness!

KENT

He can’t bear his grief and so he’s losing his mind. May God reward you for your kindness!

Exit GLOUCESTER

GLOUCESTER exits.

EDGAR

Frateretto calls me and tells me Nero is an angler in the lake of darkness. Pray, innocent, and beware the foul fiend.

EDGAR

The devil Frateretto is telling me that the diabolical Roman emperor Nero likes to go fishing in hell. Pray to the gods, you fool, and beware the foul devil.

FOOL

Prithee, nuncle, tell me whether a madman be a gentleman or a yeoman?

FOOL

Here’s a riddle, uncle. Is the lunatic a gentleman or an ordinary guy?

LEAR

A king, a king!

LEAR

He’s a king, a king!

FOOL

No, he’s a yeoman that has a gentleman to his son, for he’s a mad yeoman that sees his son a gentleman before him.

FOOL

No, he’s an ordinary guy who ’s got a gentleman for a son, since someone would have to be crazy to let his son become a gentleman before he’s achieved that distinction himself.

LEAR

To have a thousand with red burning spits

Come hissing in upon ’em!

LEAR

I see Regan and Goneril in hell—A thousand hissing devils with sizzling red pitchforks come up to them!

EDGAR

The foul fiend bites my back.

EDGAR

The nasty devil’s biting my butt.

FOOL

He’s mad that trusts in the tameness of a wolf, a horse’s health, a boy’s love, or a whore’s oath.

FOOL

You’ve got to be crazy to trust a wolf that pretends to be tame, a horse that seems healthy, a teenager in love, or a whore who swears she’ll be faithful.

LEAR

It shall be done. I will arraign them straight.

(to EDGAR) Come, sit thou here, most learnèd justicer.

(to FOOL)

Thou, sapient sir, sit here.—Now, you she-foxes—

LEAR

I’ll do it. I’ll put them on trial right now. (to EDGAR) Come sit here, our able judge. (to FOOL) And you sit here, wise sir.—Now, you she-foxes—

EDGAR

Look, where he stands and glares!—Want’st thou eyes at trial, madam?

(sings)

Come o’er the bourn, Bessy, to me—

EDGAR

There he is, standing and glaring at me!—Hey, lady, can’t you see how the judge is?

(sings)

Come over the stream to me, dear Bessy—

FOOL

(sings)

Her boat hath a leak,

And she must not speak

Why she dares not come over to thee.

FOOL

(sings)

She’s getting her period,

And she won’t tell you

Why she won’t come see you.

EDGAR

The foul fiend haunts Poor Tom in the voice of a nightingale. Hoppedance cries in Tom’s belly for two white herring. Croak not, black angel. I have no food for thee.

EDGAR

The devil sings like a nightingale to haunt Poor Tom. The demon Hoppedance is in Tom’s belly, crying for some fish to eat. Stop whining, devil. I’ve got no food to give you.

KENT

(to LEAR) How do you, sir? Stand you not so amazed.

Will you lie down and rest upon the cushions?

KENT

(to LEAR) How are you, sir? Please don’t stand there in a daze. Wouldn’t you like to lie down on the pillows?

LEAR

I’ll see their trial first. Bring in the evidence.

(to EDGAR) Thou robèd man of justice, take thy place.

(to FOOL) And thou, his yoke-fellow of equity,

Bench by his side.

(to KENT)

You are o’ th’ commission.

Sit you too.

LEAR

No, I want to see their trial first. Let’s have the evidence. (to EDGAR) Take your place, honorable judge. (to FOOL) And you, his fellow justice of the peace, sit next to him. (to KENT) You can also be a judge. Sit down as well.

EDGAR

Let us deal justly.

(sings)

Sleepest or wakest thou, jolly shepherd?

Thy sheep be in the corn.

And for one blast of thy minikin mouth,

Thy sheep shall take no harm.

Purr! The cat is gray.

EDGAR

Let’s give a fair verdict.

(sings)

Are you asleep or awake, happy shepherd?

Your sheep are running around the cornfield.

But if you blow your cute little horn,

Your sheep will be fine.

Purr! The devil-cat is gray.

LEAR

Arraign her first. ’Tis Goneril. I here take my oath before this honorable assembly, she kicked the poor king her father.

LEAR

Let’s put Goneril on trial first. There she is. I hereby swear before this honored assembly that she kicked her father when he was down.

FOOL

Come hither, mistress. Is your name Goneril?

FOOL

Come here, ma’am. Is your name Goneril?

LEAR

She cannot deny it.

LEAR

She can’t deny it.

FOOL

Cry you mercy, I took you for a joint-stool.

FOOL

I’m so sorry, ma’am, I thought you were a good person, a well-made chair instead of a crude stool.

LEAR

And here’s another, whose warped looks proclaim

What store her heart is made on. Stop her there!

Arms, arms, sword, fire, corruption in the place!

False justicer, why hast thou let her ’scape?

LEAR

And here’s Regan, whose grotesque face betrays her twisted heart. Stop her! Guards, guards, use your weapons. Fire! The courtroom is in chaos. You corrupt judge, why did you let her escape?

EDGAR

Bless thy five wits.

EDGAR

Bless your heart.

KENT

(to LEAR) O pity! Sir, where is the patience now,

That thou so oft have boasted to retain?

KENT

(to LEAR) How sorrowful! Sir, where’s the self-control you used to be so proud of?

EDGAR

(aside) My tears begin to take his part so much,

They’ll mar my counterfeiting.

EDGAR

(to himself) I feel so sorry for him that my tears are starting to ruin my disguise.

LEAR

The little dogs and all,

Tray, Blanch, and Sweetheart—see, they bark at me.

LEAR

Look at the three little dogs, Tray, Blanch, and Sweetheart—all barking at me.

EDGAR

Tom will throw his head at them.—Avaunt, you curs!

Tooth that poisons if it bite,

Mastiff, greyhound, mongrel grim,

EDGAR

Tom will chase them off.—Go away, you mongrels!

Whether you bite to kill,

Mastiff, greyhound, or ugly mutt,

Hound or spaniel, brach or him,

Bobtail tyke or trundle-tail—

Tom will make them weep and wail.

For with throwing thus my head,

Dogs leap the hatch, and all are fled.

Be thy mouth or black or white,

Do-de, de-de. Cessez! Come, march to wakes and fairs and market towns. Poor Tom, thy horn is dry.

Hound or spaniel, bitch or dog,

Whether your tail is short or curly—

Tom will make you cry and wail.

With one little toss of his head,

He can scare you off for good.

Whether your mouth is black or white,

Do-dee, dee-dee da. Stop! Run off, go visit fairs and festivals! Poor Tom, your cup is empty.

LEAR

Then let them anatomize Regan. See what breeds about her heart. Is there any cause in nature that makes these hard hearts? (to EDGAR) You, sir, I entertain you for one of my hundred. Only I do not like the fashion of your garments. You will say they are Persian attire, but let them be changed.

LEAR

Now let them dissect Regan and her hard heart. Is there any natural cause for hardening of the heart? (to EDGAR) Sir, you can serve me as one of my hundred knights. But I don’t like your style of clothes. I’m sure you’ll tell me they’re fabulous, but I think you should change them anyway.

KENT

Now, good my lord, lie here and rest awhile.

KENT

Please lie down and rest a while, my lord.

LEAR

Make no noise, make no noise. Draw the curtains—so, so, so. We’ll go to supper i’ th’ morning. So, so, so. (sleeps)

LEAR

Be quiet, be quiet. Draw the curtains, just like that. We’ll have supper in the morning. That’s right. (he falls asleep)

FOOL

And I’ll go to bed at noon.

FOOL

And I’ll go to bed at noon.

Enter GLOUCESTER

GLOUCESTER enters.

GLOUCESTER

(to KENT) Come hither, friend. Where is the king my master?

GLOUCESTER

(to KENT) Come here, my friend. Where’s my master the king?

KENT

Here, sir, but trouble him not. His wits are gone.

KENT

He’s here, sir, but please don’t bother him. He’s out of his right mind.

GLOUCESTER

Good friend, I prithee, take him in thy arms.

I have o’erheard a plot of death upon him.

There is a litter ready. Lay him in ’t

And drive towards Dover, friend, where thou shalt meet

Both welcome and protection. Take up thy master.

If thou shouldst dally half an hour, his life,

With thine and all that offer to defend him,

Stand in assurèd loss. Take up, take up,

And follow me, that will to some provision

Give thee quick conduct.

GLOUCESTER

Please get him, my friend, I beg you. I’ve overheard people plotting to kill him. I have a carriage ready. Put him inside and take him to Dover, where you’ll find people who’ll welcome and protect him. Carry your master out. If you waste even half an hour, he’ll be killed, along with you and everyone else helping him. Bring him here, carry him and follow me. I’ll quickly take you to where you can find supplies.

KENT

Oppressèd nature sleeps.—

This rest might yet have balmed thy broken sinews,

Which, if convenience will not allow,

Stand in hard cure.

(to FOOL)

Come, help to bear thy master.

Thou must not stay behind.

KENT

Lear’s suffering has finally put him to sleep. (to the sleeping LEAR) This rest might have calmed your shattered nerves. It will be difficult for you to get better now that rest is impossible. (to FOOL) Come on, help me carry your master. You can’t stay here.

GLOUCESTER

Come, come, away.

GLOUCESTER

Come on, come on.

Exeunt all but EDGAR

Everyone exits except EDGAR.

EDGAR

When we our betters see bearing our woes,

We scarcely think our miseries our foes.

Who alone suffers, suffers most i’ th’ mind,

Leaving free things and happy shows behind.

But then the mind much sufferance doth o’erskip

When grief hath mates and bearing fellowship.

How light and portable my pain seems now

When that which makes me bend makes the king bow.

He childed as I fathered. Tom, away!

Mark the high noises and thyself bewray

When false opinion, whose wrong thought defiles thee,

In thy just proof repeals and reconciles thee.

What will hap more tonight, safe ’scape the king!

Lurk, lurk.

EDGAR

When we see that our betters have the same problems we do, we can almost forget our own misery. The person who suffers alone suffers the most. Companions in sorrow alleviate our grief. My troubles seem so easy to bear now that I see the king collapsing under a similar sorrow. His children have done the same to him as my father has to me. Let’s go, Tom. We’ll pay attention to the political situation, and you’ll be able to reveal your true identity when you’re proven innocent. Whatever else happens tonight, I hope the king escapes safely! Lurk out of sight.

Exit

He exits.

Act 3, Scene 7

Enter CORNWALL, and REGAN, and GONERIL, and EDMUND the bastard, and servants

CORNWALL enters with REGAN, GONERIL, EDMUND, and servants.

CORNWALL

(to GONERIL) Post speedily to my lord your husband. Show him this letter. The army of France is landed. —Seek out the traitor Gloucester.

CORNWALL

(to GONERIL) Hurry to your husband. Show him this letter. The French army has landed.—Find the traitor Gloucester.

Exeunt some servants

Some servants exit.

REGAN

Hang him instantly.

REGAN

Hang him immediately.

GONERIL

Pluck out his eyes.

GONERIL

Gouge out his eyes!

CORNWALL

Leave him to my displeasure.—Edmund, keep you our sister company. The revenges we are bound to take upon your traitorous father are not fit for your beholding. Advise the duke where you are going, to a most festinate preparation. We are bound to the like. Our posts shall be swift and intelligent betwixt us.—Farewell, dear sister. (to EDMUND) Farewell, my lord of Gloucester.

CORNWALL

Leave him to my wrath.—Edmund, go with my sister-in-law. You shouldn’t have to see the punishment we inflict on your father. Tell the Duke of Albany to prepare for war immediately. We will do the same. We’ll keep the lines of communication open between us. (to GONERIL) Goodbye, my dear sister-in-law. (to EDMUND) Goodbye, lord Gloucester.

Enter OSWALD the steward

OSWALD enters.

How now? Where’s the king?

Hello. Where’s the king?

OSWALD

My lord of Gloucester hath conveyed him hence.

Some five or six and thirty of his knights,

Hot questrists after him, met him at gate,

Who with some other of the lord’s dependants

Are gone with him towards Dover, where they boast

To have well-armèd friends.

OSWALD

Lord Gloucester has helped him leave. Thirty-five or thirty-six of his knights met him at the gate, and together with some others they’ve set off for Dover, where they claim to have powerful friends.

CORNWALL

Get horses for your mistress.

CORNWALL

Prepare the horses for your lady.

Exit OSWALD

OSWALD exits.

GONERIL

Farewell, sweet lord, and sister.

GONERIL

Goodbye, my sweet lord.—Goodbye, my sister.

CORNWALL

Edmund, farewell.

CORNWALL

Goodbye, Edmund.

Exeunt GONERIL and EDMUND the bastard

GONERIL and EDMUND exit.

Go seek the traitor Gloucester.

Pinion him like a thief, bring him before us.

Go find the traitor Gloucester. Tie him up like a thief and bring him here to me.

Exeunt some servants

Some servants exit.

Though well we may not pass upon his life

Without the form of justice, yet our power

Shall do a courtesy to our wrath, which men

May blame, but not control.—Who’s there? The traitor?

I can’t condemn him to death without a formal trial, but I’m powerful enough that I can still do something to express my anger. Some men may blame me for doing this, but they won’t be able to do anything about it.—Who’s there? Is that the traitor?

Enter GLOUCESTER, brought in by two or three servants

Two or three servants bring in GLOUCESTER.

REGAN

Ingrateful fox, ’tis he.

REGAN

Ungrateful traitor! That’s him.

CORNWALL

Bind fast his corky arms.

CORNWALL

Tie up his withered old arms.

GLOUCESTER

What mean your graces? Good my friends, consider

You are my guests. Do me no foul play, friends.

GLOUCESTER

What are you doing? My friends, remember that you’re my guests here. Don’t play any nasty tricks on me.

CORNWALL

Bind him, I say.

CORNWALL

Tie him up, I tell you.

Servants bind GLOUCESTER

Servants tie up GLOUCESTER.

REGAN

Hard, hard.—O filthy traitor!

REGAN

Tie him up harder.—You filthy traitor!

GLOUCESTER

Unmerciful lady as you are, I’m none.

GLOUCESTER

I’m not a traitor, unfair lady.

CORNWALL

To this chair bind him.—Villain, thou shalt find—

CORNWALL

Tie him to this chair.—You’ll see, criminal—

REGAN plucks GLOUCESTER’s beard

REGAN pulls GLOUCESTER’s beard.

GLOUCESTER

By the kind gods, ’tis most ignobly done

To pluck me by the beard.

GLOUCESTER

By the gods, it’s disgraceful for you to pull my beard.

REGAN

So white, and such a traitor?

REGAN

As old and white-haired as you are, and you’re such a traitor?

GLOUCESTER

Naughty lady,

These hairs which thou dost ravish from my chin

Will quicken and accuse thee. I am your host.

With robbers’ hands my hospitable favors

You should not ruffle thus. What will you do?

GLOUCESTER

Wicked woman, these white hairs you’re pulling off my chin will come to life and accuse you of wrong-doing. You are my guests. This is no way to treat a host who has welcomed you into his house. What do you think you’re doing?

CORNWALL

Come, sir, what letters had you late from France?

CORNWALL

Tell us about the letters that you got from France.

REGAN

Be simple-answered, for we know the truth.

REGAN

Get to the point, since we already know the truth.

CORNWALL

And what confederacy have you with the traitors

Late footed in the kingdom?

CORNWALL

And what’s your connection with the traitors who landed in our kingdom recently?

REGAN

To whose hands

You have sent the lunatic king. Speak.

REGAN

The ones you’ve sent our lunatic king to. Tell us.

GLOUCESTER

I have a letter guessingly set down,

Which came from one that’s of a neutral heart,

And not from one opposed.

GLOUCESTER

I got a letter that made some guesses about what was going on, without any proof. It came from a neutral party, not from someone opposed to you.

CORNWALL

Cunning.

CORNWALL

How clever of you.

REGAN

And false.

REGAN

Clever lies.

CORNWALL

Where hast thou sent the king?

CORNWALL

Where have you sent the king?

GLOUCESTER

To Dover.

GLOUCESTER

To Dover.

REGAN

Wherefore to Dover? Wast thou not charged at peril—

REGAN

Why Dover? Weren’t you ordered, on penalty of—

CORNWALL

Wherefore to Dover?—Let him first answer that.

CORNWALL

Why Dover?—Let him answer that question first.

GLOUCESTER

I am tied to th’ stake, and I must stand the course.

GLOUCESTER

I’m backed into a corner with nowhere to run.

REGAN

Wherefore to Dover, sir?

REGAN

Why Dover?

GLOUCESTER

Because I would not see thy cruèl nails

Pluck out his poor old eyes, nor thy fierce sister

In his anointed flesh stick boarish fangs.

The sea, with such a storm as his bare head

In hell-black night endured, would have buoyed up,

And quenched the stellèd fires.

Yet poor old heart, he holp the heavens to rain.

If wolves had at thy gate howled that stern time,

Thou shouldst have said, “Good porter, turn the key,”

All cruèls else subscribed. But I shall see

The wingèd vengeance overtake such children.

GLOUCESTER

Because I didn’t want to watch while you gouged out his poor old eyes with your cruel fingernails, or while your vicious sister sank her fangs into his sacred flesh. You left him out in the storm in the black night, bareheaded, a storm so terrible that if it had happened at sea, the waters would have risen up and extinguished the fire burning in the stars. And the poor old man just wept, mixing his tears with the rain. If wolves had been howling outside your gate at the heart of that storm, you would’ve told your doorman to let them in, despite all the cruelties you inflict on the world. But soon I’ll see the gods punish you for your lack of respect to your father.

CORNWALL

“See” ’t shalt thou never.—Fellows, hold the chair.— Upon these eyes of thine I’ll set my foot.

CORNWALL

You won’t be seeing anything.—Hold his chair still, men.—I’m going to put my foot on his eyes.

GLOUCESTER

He that will think to live till he be old,

Give me some help!

GLOUCESTER

Oh, help me, anyone who wants to live long!

CORNWALL plucks out one of GLOUCESTER’s eyes and stamps on it

CORNWALL gouges out one of GLOUCESTER’s eyes and steps on it.

O cruel! O you gods!

Oh, so cruel! Oh dear gods!

REGAN

One side will mock another—th’ other too.

REGAN

Now he’s a little crooked. Gouge out the other eye too.

CORNWALL

If you see vengeance—

CORNWALL

If you see vengeance—

FIRST SERVANT

Hold your hand, my lord!

I have served you ever since I was a child.

But better service have I never done you

Than now to bid you hold.

FIRST SERVANT

Stop, my lord! I’ve served you since childhood, but I’ve never done you a better service than telling you to stop.

REGAN

How now, you dog?

REGAN

What’s this, you dog?

FIRST SERVANT

If you did wear a beard upon your chin,

I’d shake it on this quarrel. What do you mean?

FIRST SERVANT

I am willing to fight you if I must. What do you mean by all this?

CORNWALL

My villein!

CORNWALL

My peasant, acting like this?

FIRST SERVANT

Nay then, come on, and take the chance of anger.

FIRST SERVANT

Come on then. Over my dead body.

FIRST SERVANT and CORNWALL draw and fight CORNWALL is wounded

The FIRST SERVANT and CORNWALL draw swords and fight. CORNWALL is wounded.

REGAN

(to another servant)

Give me thy sword.—A peasant stand up thus?

(takes a sword, runs at FIRST SERVANT behind, and kills him)

REGAN

(to another servant) Give me your sword.—A lowly peasant defying his lord like this?

(She takes a sword and stabs the FIRST SERVANT from behind, killing him.)

FIRST SERVANT

Oh, I am slain!—My lord, you have one eye left

To see some mischief on him. Oh!

(dies)

FIRST SERVANT

I am dying!—My lord, you still have one eye left to see Cornwall punished. Oh! (he dies)

CORNWALL

Lest it see more, prevent it.—Out, vile jelly!

(plucks out GLOUCESTER’s other eye)

Where is thy luster now?

CORNWALL

We’ll just have to stop him from seeing ever again. Out, vile jelly, pop out of your eye sockets!

(he gouges out GLOUCESTER’s other eye)

Where’s your sparkle now?

GLOUCESTER

All dark and comfortless. Where’s my son Edmund?

Edmund, enkindle all the sparks of nature

To quit this horrid act.

GLOUCESTER

Nothing but darkness and horror. Where’s my son Edmund? Edmund, let your love for me ignite your bloodlust to avenge this horrible crime!

REGAN

Out, treacherous villain!

Thou call’st on him that hates thee. It was he

That made the overture of thy treasons to us,

Who is too good to pity thee.

REGAN

Wrong, evil traitor. You’re appealing to a son who hates you. He was the one who revealed your treason to us. He’s too good to have any compassion for you.

GLOUCESTER

O my follies! Then Edgar was abused.

Kind gods, forgive me that, and prosper him!

GLOUCESTER

What a fool I’ve been! This means I’ve mistreated Edgar. Dear God, forgive me. Let him be well!

REGAN

Go thrust him out at gates, and let him smell

His way to Dover.

REGAN

Kick him out of the gate. He can sniff his way to Dover.

Exeunt some servants with GLOUCESTER

Some servants exit with GLOUCESTER.

(to CORNWALL) How is ’t, my lord? How look you?

(to CORNWALL) What is it, my lord? Why do you look like that?

CORNWALL

I have received a hurt. Follow me, lady.—

Turn out that eyeless villain. Throw this slave

Upon the dunghill.—Regan, I bleed apace.

Untimely comes this hurt. Give me your arm.

CORNWALL

I’m wounded. Follow me, madam.—Throw the blind traitor outside. And throw this dead peasant into the manure pit.—Regan, I’m bleeding. It’s a bad time for such an injury. Give me your arm.

Exit CORNWALL with REGAN

CORNWALL and REGAN exit.

SECOND SERVANT

I’ll never care what wickedness I do,

If this man come to good.

SECOND SERVANT

If our criminal master gets off free, I won’t care what happens to me anymore.

THIRD SERVANT

If she live long,

And in the end meet the old course of death,

Women will all turn monsters.

THIRD SERVANT

If she lives a long and happy life, then all women may as well turn into monsters.

SECOND SERVANT

Let’s follow the old earl, and get the Bedlam

To lead him where he would. His roguish madness

Allows itself to any thing.

SECOND SERVANT

Let’s follow the old earl, and get that crazy Tom to take him wherever he wants to go. As a wandering lunatic, he can do whatever he wants.

THIRD SERVANT

Go thou. I’ll fetch some flax and whites of eggs

To apply to his bleeding face. Now heaven help him!

THIRD SERVANT

Go ahead. I’ll get some cloth and egg whites to bandage his bleeding face. Heaven help him!

Exeunt severally

They exit in different directions.

Act 4, Scene 1

Enter EDGAR diguised

EDGAR enters in disguise.

EDGAR

Yet better thus, and known to be contemned,

Than still contemned and flattered. To be worst,

The lowest and most dejected thing of fortune

Stands still in esperance, lives not in fear.

The lamentable change is from the best;

The worst returns to laughter. Welcome, then,

Thou unsubstantial air that I embrace!

The wretch that thou hast blown unto the worst

Owes nothing to thy blasts.

EDGAR

Still, I’m better off now, as a beggar who is openly hated, than when I was flattered to my face hated in secret. The lowliest and most dejected creatures live without fear and still harbor hope. The worst kind of change is when good fortune turns sour. At the bottom, any change is for the better. So I welcome this wind freely. I’ve sunk as far down as I can go, so I’ve got nothing more to fear from the weather.

Enter GLOUCESTER led by an OLD MAN

GLOUCESTER enters, led by an OLD MAN.

But who comes here?

My father, poorly led? World, world, O world!

But that thy strange mutations make us hate thee,

Life would not yield to age.

But who is this? My father, led by a poor peasant? Oh, life is full of surprises! We age and die because they wear us out.

OLD MAN

(to GLOUCESTER)

O my good lord,

I have been your tenant and your father’s tenant these fourscore years.

OLD MAN

(to GLOUCESTER) My good lord, I’ve rented land from you and your father for eighty years.

GLOUCESTER

Away, get thee away. Good friend, be gone.

Thy comforts can do me no good at all.

Thee they may hurt.

GLOUCESTER

Away, get out of here. Leave me, my friend. There’s nothing you can do to help me now, and being with me puts your life in danger.

OLD MAN

Alack, sir, you cannot see your way.

OLD MAN

But you can’t see where you’re going, sir.

GLOUCESTER

I have no way, and therefore want no eyes.

I stumbled when I saw. Full oft ’tis seen,

Our means secure us and our mere defects

Prove our commodities. O dear son Edgar,

The food of thy abusèd father’s wrath,

Might I but live to see thee in my touch,

I’d say I had eyes again!

GLOUCESTER

I don’t have anywhere to go, so I don’t need to see. When I could see, I didn’t always see clearly. I made mistakes, I stumbled and fell. It’s often the case that having something makes us spoiled, while not having it turns out to be advantageous. So may it be with my eyesight. Oh, my dear son Edgar, how enraged I was at you when I was deceived. If I live long enough to touch you again, that would be as good as having my eyesight back.

OLD MAN

How now? Who’s there?

OLD MAN

Who’s that? Who’s there?

EDGAR

(aside) O gods! Who is ’t can say “I am at the worst”?

I am worse than e’er I was.

EDGAR

(to himself) Oh, gods! Who can ever say, “This is as bad as it can get”? I’m worse off now than ever before.

OLD MAN

(to GLOUCESTER)

’Tis poor mad Tom.

OLD MAN

(to GLOUCESTER) It’s poor crazy Tom.

EDGAR

(aside) And worse I may be yet. The worst is not

So long as we can say “This is the worst.”

EDGAR

(to himself) And my life could still be worse. If you have the presence of mind to say, “This is the worst,” then it’s not the worst yet.

OLD MAN

(to EDGAR) Fellow, where goest?

OLD MAN

(to EDGAR) Where are you going, man?

GLOUCESTER

Is it a beggarman?

GLOUCESTER

Is it a beggar?

OLD MAN

Madman and beggar too.

OLD MAN

Yes, he’s both crazy and a beggar.

GLOUCESTER

He has some reason, else he could not beg.

I’ th’ last night’s storm I such a fellow saw,

Which made me think a man a worm. My son

Came then into my mind, and yet my mind

Was then scarce friends with him. I have heard more since.

As flies to wanton boys are we to th’ gods.

They kill us for their sport.

GLOUCESTER

Well, he can’t be completely crazy, or he wouldn’t be able to beg. Last night during the storm I saw a man who was both poor and crazy. He made me think that men are as weak and insignificant as worms. I was reminded of my son, even though I despised my son at that time. Now I know better. The gods play around with us as cruelly as schoolboys who pull the wings off flies.

EDGAR

(aside)

How should this be?

Bad is the trade that must play fool to sorrow,

Angering itself and others.—Bless thee, master!

EDGAR

(to himself) What’s going on? I hate pretending I’m a wandering beggar when all I want to do now is comfort my poor father.—Bless you, master.

GLOUCESTER

Is that the naked fellow?

GLOUCESTER

Is that the naked guy?

OLD MAN

Ay, my lord.

OLD MAN

Yes, my lord.

GLOUCESTER

Then prithee, get thee gone. If for my sake

Thou wilt o’ertake us hence a mile or twain

I’ th’ way toward Dover, do it for ancient love.

And bring some covering for this naked soul,

Which I’ll entreat to lead me.

GLOUCESTER

(to the OLD MAN) Then please go. If you’re willing to do me a favor, as an old friend, then catch up to us a mile or two further on the way to Dover, and bring some clothes for this poor beggar. I’ll ask him to be my guide.

OLD MAN

Alack, sir, he is mad.

OLD MAN

But sir, he’s crazy.

GLOUCESTER

’Tis the time’s plague when madmen lead the blind.

Do as I bid thee. Or rather, do thy pleasure.

Above the rest, be gone.

GLOUCESTER

It’s the tragedy of our times that lunatics must lead the blind. Do as I asked you. Or rather, do what you feel like doing. But above all, get out of here.

OLD MAN

I’ll bring him the best ’parel that I have,

Come on ’t what will.

OLD MAN

I’ll bring the crazy beggar the best clothes I have, no matter what happens.

Exit OLD MAN

He exits.

GLOUCESTER

Sirrah, naked fellow—

GLOUCESTER

Hey, naked guy—

EDGAR

Poor Tom’s a-cold.

(aside) I cannot daub it further.

EDGAR

Poor Tom’s chilly. (to himself) I can’t play this role any longer.

GLOUCESTER

Come hither, fellow.

GLOUCESTER

Come here, man.

EDGAR

(aside) And yet I must.—Bless thy sweet eyes, they bleed.

EDGAR

(to himself) But I must.—Bless you, sir. Your dear eyes are bleeding.

GLOUCESTER

Know’st thou the way to Dover?

GLOUCESTER

Do you know the way to Dover?

EDGAR

Both stile and gate, horseway and footpath. Poor Tom hath been scared out of his good wits. Bless thee, goodman’s son, from the foul fiend! Five fiends have been in poor Tom at once: of lust, as Obidicut; Hobbididence, prince of dumbness; Mahu, of stealing; Modo, of murder; Flibbertigibbet, of mopping and mowing, who since possesses chambermaids and waiting-women. So bless thee, master.

EDGAR

I know it like the back of my hand, every step of the way. Poor Tom has been scared out of his mind. Bless you, good man, and stay away from the devil. Five devils haunted Poor Tom at the same time: Obidicut, the devil of lust; Hobbididence, the devil of mutes; Mahu, the devil of stealing; Modo, the devil of murder; and Flibbertigibbet, the devil of mockery, who causes chambermaids to make silly faces. Bless you, master.

GLOUCESTER

(giving EDGAR a purse)

Here, take this purse, thou whom the heavens’ plagues

Have humbled to all strokes. That I am wretched

Makes thee the happier. Heavens, deal so still.

Let the superfluous and lust-dieted man,

That slaves your ordinance, that will not see

Because he doth not feel, feel your power quickly.

So distribution should undo excess,

And each man have enough. Dost thou know Dover?

GLOUCESTER

(giving EDGAR a purse) Here, take some money. The torments of heaven have brought you down to this humble state. My misery makes you more fortunate in comparison. It should always work like that. The spoiled man who has everything, who can’t see the misery around him because he doesn’t feel it himself, should be made to feel agony so he can learn to share his wealth. That way wealth would be redistributed until everyone has enough to survive. Are you familiar with Dover?

EDGAR

Ay, master.

EDGAR

Yes, sir.

GLOUCESTER

There is a cliff, whose high and bending head

Looks fearfully in the confinèd deep.

Bring me but to the very brim of it,

And I’ll repair the misery thou dost bear

With something rich about me. From that place

I shall no leading need.

GLOUCESTER

There’s a cliff there that leans precariously over the deep sea. Take me to the edge of it, and I’ll reward all your troubles with something valuable. Once I’m there, I won’t need a guide anymore.

EDGAR

Give me thy arm.

Poor Tom shall lead thee.

EDGAR

Give me your arm. Poor Tom will take you there.

Exeunt

They exit.

Act 4, Scene 2

Enter GONERIL and EDMUND the bastard

GONERIL enters with EDMUND.

GONERIL

Welcome, my lord. I marvel our mild husband

Not met us on the way.

GONERIL

Welcome, my lord. I’m surprised my bland husband didn’t meet me on the way here.

Enter OSWALD

OSWALD enters.

Now, where’s your master?

Where’s your master?

OSWALD

Madam, within—but never man so changed.

I told him of the army that was landed.

He smiled at it. I told him you were coming.

His answer was “The worse.” Of Gloucester’s treachery

And of the loyal service of his son,

When I informed him, then he called me “sot,”

And told me I had turned the wrong side out.

What most he should dislike seems pleasant to him;

What like, offensive.

OSWALD

He’s inside, ma’am, but he has changed dramatically since you last saw him. When I told him that the invading army has landed, he just smiled at me. When I told him you were on your way, he replied, “Too bad.” When I told him about Gloucester’s betrayal and his son Edmund’s loyal service, he called me an idiot and said I had it all wrong. He was delighted by the bad news and disgusted by the good news.

GONERIL

(to EDMUND)

Then shall you go no further.

It is the cowish terror of his spirit

That dares not undertake. He’ll not feel wrongs

Which tie him to an answer. Our wishes on the way

May prove effects. Back, Edmund, to my brother.

Hasten his musters and conduct his powers.

I must change names at home, and give the distaff

Into my husband’s hands. This trusty servant

Shall pass between us. Ere long you are like to hear—

If you dare venture in your own behalf—

A mistress’ command. Wear this. Spare speech.

Decline your head. This kiss, if it durst speak,

Would stretch thy spirits up into the air.

(kisses EDMUND) Conceive, and fare thee well.

GONERIL

(to EDMUND) Then don’t come in with me. He’s a coward and can’t commit himself to doing anything risky. He chooses not to be insulted rather than challenge those who offend him. But what we talked about with longing on the way may soon come true. Edmund, go back to see my brother-in-law. Gather his soldiers and organize his troops. I plan to take charge of my household. From now on I will wear the pants, and my husband can play the housewife. We can trust Oswald to carry messages between us. If you act boldly, you will soon obey me as your true mistress. Take this as a token of my esteem. Don’t speak. Lean down. This kiss should encourage you. (she kisses EDMUND) I hope you understand me. Goodbye, and good luck.

EDMUND

Yours in the ranks of death.

EDMUND

I’m at your service until death.

GONERIL

My most dear Gloucester!

GONERIL

My dear Gloucester!

Exit EDMUND

EDMUND exits.

Oh, the difference of man and man!

To thee a woman’s services are due.

My fool usurps my body.

What a man!—especially compared to my husband. Edmund, you deserve me to be your woman. There’s a fool sharing my bed now.

OSWALD

Madam, here comes my lord.

OSWALD

Ma’am, my master’s coming.

Exit OSWALD

He exits.

Enter ALBANY

ALBANY enters.

GONERIL

I have been worth the whistle.

GONERIL

So you finally find me worthy of your attentions.

ALBANY

O Goneril,

You are not worth the dust which the rude wind

Blows in your face. I fear your disposition.

That nature, which contemns its origin

Cannot be bordered certain in itself.

She that herself will sliver and disbranch

From her material sap perforce must wither

And come to deadly use.

ALBANY

Goneril, you aren’t worth the dust the wind blows in your face. I don’t trust you. You can’t trust anyone who abuses her own father, her flesh and blood. A woman who breaks off relations with her bloodline is like a branch that tries to break away from the tree. She will wither and come to a bad end.

GONERIL

No more. The text is foolish.

GONERIL

Oh, shut up. Your words are idiotic.

ALBANY

Wisdom and goodness to the vile seem vile.

Filths savor but themselves. What have you done?

Tigers, not daughters, what have you performed?

A father, and a gracious agèd man,

Whose reverence even the head-lugged bear would lick,

Most barbarous, most degenerate, have you madded.

Could my good brother suffer you to do it—

A man, a prince by him so benefited?

If that the heavens do not their visible spirits

Send quickly down to tame these vile offenses,

It will come:

Humanity must perforce prey on itself

Like monsters of the deep.

ALBANY

Bad people can’t appreciate wisdom or goodness. They only like things as bad as themselves. What have you two sisters done? You’re tigers, not daughters. Barbaric degenerates, you’ve driven insane a kindly old father, whom even an angry bear would treat gent-ly. Could my good brother-in-law—a man to whom the king gave half his kingdom—have allowed you to do it? If the heavens don’t punish these crimes immediately, the end will come. Human beings will become cannibals, like ravenous sea fishes.

GONERIL

Milk-livered man

That bear’st a cheek for blows, a head for wrongs—

Who hast not in thy brows an eye discerning

Thine honor from thy suffering; that not know’st

Fools do those villains pity who are punished

Ere they have done their mischief. Where’s thy drum?

France spreads his banners in our noiseless land,

With plumèd helm thy state begins to threat,

Whiles thou, a moral fool, sits still and cries,

“Alack, why does he so?”

GONERIL

Coward! You take everything lying down, you just turn the other cheek—you can’t even see the difference between being honored and being taken advantage of! If we punish criminals before they have a chance to commit their crimes, you’re a fool to pity them. Why aren’t you preparing for war? The French have invaded our peaceful country. Your territory is at risk, and all you can do is sit around like a preachy fool and whine, “Ah, why is he doing that?”

ALBANY

See thyself, devil!

Proper deformity shows not in the fiend

So horrid as in woman.

ALBANY

Look at yourself, devilish shrew! A woman deformed by hatred and rage is more horrifying than the devil!—at least the devil is supposed to look that way.

GONERIL

O vain fool!

GONERIL

You useless fool!

ALBANY

Thou changèd and self-covered thing, for shame!

Bemonster not thy feature. Were ’t my fitness

To let these hands obey my blood,

They are apt enough to dislocate and tear

Thy flesh and bones. Howe’er thou art a fiend,

A woman’s shape doth shield thee.

ALBANY

Shame on you, warped hag! Your true demonic features are distorting your body. If I let myself do what I yearn to, I’d rip the flesh off your bones. But I won’t attack a woman, even if she is a demon.

GONERIL

Marry, your manhood, mew!

GONERIL

I sneeze on your manhood. Ha!

Enter FIRST MESSENGER

The FIRST MESSENGER enters.

ALBANY

What news?

ALBANY

What news do you bring?

FIRST MESSENGER

O my good lord, the Duke of Cornwall’s dead,

Slain by his servant, going to put out

The other eye of Gloucester.

FIRST MESSENGER

Oh my lord, the Duke of Cornwall’s dead. He was killed by his servant as he about to gouge out Glouces-ter’s other eye.

ALBANY

Gloucester’s eyes?

ALBANY

Gloucester’s eyes?

FIRST MESSENGER

A servant that he bred, thrilled with remorse,

Opposed against the act, bending his sword

To his great master; who thereat enraged

Flew on him and amongst them felled him dead—

But not without that harmful stroke, which since

Hath plucked him after.

FIRST MESSENGER

A servant Gloucester had raised in his house, full of compunction, opposed the blinding and turned his sword on the Duke of Cornwall. Enraged, Cornwall attacked and killed the servant, but not without receiving his own wound, of which he later died.

ALBANY

This shows you are above,

You justicers, that these our nether crimes

So speedily can venge! But oh, poor Gloucester—

Lost he his other eye?

ALBANY

There’s justice in heaven after all! That these crimes are punished so quickly is proof. But oh, poor Glou-cester! Did he lose his other eye?

FIRST MESSENGER

Both, both, my lord.—

This letter, madam, craves a speedy answer.

’Tis from your sister.

FIRST MESSENGER

He lost both, my lord.—Ma’am, this letter is from your sister, and needs an immediate answer.

GONERIL

(aside)

One way I like this well.

But being widow, and my Gloucester with her,

May all the building in my fancy pluck

Upon my hateful life. Another way

The news is not so tart.—I’ll read and answer.

GONERIL

(to herself) In a way I’m glad to hear that Cornwall is dead. But on the other hand, Edmund is traveling with Regan, who is now a widow. If something happens between them on the road, it would shatter my hopes of having Edmund for myself and escaping this hateful life. Still, there are benefits to having Cornwall out of the way.—I’ll read this letter and answer it.

Exit GONERIL

She exits.

ALBANY

Where was his son when they did take his eyes?

ALBANY

Where was Gloucester’s son Edmund when they gouged his eyes out?

FIRST MESSENGER

Come with my lady hither.

FIRST MESSENGER

He was on his way here with your wife.

ALBANY

He is not here.

ALBANY

But he isn’t here now.

FIRST MESSENGER

No, my good lord. I met him back again.

FIRST MESSENGER

No, my lord. I met him going back again.

ALBANY

Knows he the wickedness?

ALBANY

Does he know about this wicked crime?

FIRST MESSENGER

Ay, my good lord. ’Twas he informed against him,

And quit the house on purpose that their punishment

Might have the freer course.

FIRST MESSENGER

Yes, my lord. He was the one who denounced his father. He then left the house specifically so that the punishment might be carried out without concern for their father-son bond.

ALBANY

Gloucester, I live

To thank thee for the love thou showed’st the king,

And to revenge thine eyes.—Come hither, friend.

Tell me what more thou know’st.

ALBANY

Gloucester, I’ll thank you forever for the love you’ve shown the king. I’ll get revenge for what they did to your eyes.—Come here, my friend. What else you do know?

Exeunt

They exit.

Act 4, Scene 3

Enter KENT disguised and GENTLEMAN

KENT enters in disguise, along with the GENTLEMAN.

KENT

Why the King of France is so suddenly gone back know you the reason?

KENT

Do you know why the King of France suddenly went back home?

GENTLEMAN

Something he left imperfect in the state which, since his coming forth, is thought of; which imports to the kingdom so much fear and danger that his personal return was most required and necessary.

GENTLEMAN

He’d left some unfinished business, which he remembered after arriving here. It was urgent and important enough to require his personal presence.

KENT

Who hath he left behind him general?

KENT

Whom did he leave in charge here?

GENTLEMAN

The Marshal of France, Monsieur la Far.

GENTLEMAN

The marshal of France, Monsieur la Far.

KENT

Did your letters pierce the queen to any demonstration of grief?

KENT

Was Queen Cordelia aggrieved by the letters you delivered?

GENTLEMAN

Ay, sir. She took them, read them in my presence,

And now and then an ample tear trilled down

Her delicate cheek. It seemed she was a queen

Over her passion, who, most rebel-like,

Sought to be king o’er her.

GENTLEMAN

Yes, sir. She took the letters and read them in front of me. Now and then a large tear trickled down her delicate cheek. She seemed to be trying to control her emotions, which were overwhelming her.

KENT

O, then it moved her?

KENT

So she was moved by it?

GENTLEMAN

Not to a rage. Patience and sorrow strove

Who should express her goodliest. You have seen

Sunshine and rain at once—her smiles and tears

Were like a better way. Those happy smilets

That played on her ripe lip seemed not to know

What guests were in her eyes, which parted thence

As pearls from diamonds dropped. In brief,

Sorrow would be a rarity most beloved

If all could so become it.

GENTLEMAN

There were no outbursts. She was struggling between emotion and self-control. You’ve seen how it can rain while the sun shines? That’s how she was, smiling and crying at once, only more lovely. The little smile on her full lips didn’t seem aware of the tears that were dropping like diamonds from her pearly eyes. If everyone looked so lovely in their sorrow, then sorrow would be highly prized.

KENT

Made she no verbal question?

KENT

She didn’t ask anything?

GENTLEMAN

Faith, once or twice she heaved the name of “father”

Pantingly forth as if it pressed her heart,

Cried, “Sisters, sisters! Shame of ladies, sisters!

Kent, father, sisters! What, i’ th’ storm, i’ th’ night?

Let pity not be believed.” There she shook

The holy water from her heavenly eyes,

And clamor moistened. Then away she started

To deal with grief alone.

GENTLEMAN

Actually, once or twice she sighed and said, “father,” as if the word were pressing on her chest. Once she exclaimed, “Sisters, sisters, shame on you! Kent, father, sisters! What, out in a storm in the middle of the night? I can’t believe it.” The tears fell from her eyes like holy water. Then she ran away to grieve alone.

KENT

It is the stars,

The stars above us, govern our conditions.

Else one self mate and mate could not beget

Such different issues. You spoke not with her since?

KENT

It must be fate that makes us who we are—otherwise someone as good as Cordelia could not possibly be related to those two witches. Have you not spoken to her since then?

GENTLEMAN

No.

GENTLEMAN

No.

KENT

Was this before the king returned?

KENT

Did this happen before the King of France returned home?

GENTLEMAN

No, since.

GENTLEMAN

No, afterward.

KENT

Well, sir, the poor distressèd Lear’s i’ th’ town,

Who sometime in his better tune remembers

What we are come about, and by no means

Will yield to see his daughter.

KENT

Well, sir, poor delirious Lear is in town. Sometimes when he’s lucid he remembers why we’re here, and absolutely refuses to see his daughter.

GENTLEMAN

Why, good sir?

GENTLEMAN

Why, good sir?

KENT

A sovereign shame so elbows him. His own unkindness

That stripped her from his benediction turned her

To foreign casualties, gave her dear rights

To his dog-hearted daughters. These things sting

His mind so venomously that burning shame

Detains him from Cordelia.

KENT

He’s too overwhelmed with shame. He remembers how unkind he was to her, how he disowned her and sent her abroad, how he gave her rightful inheritance to her two dog-hearted sisters. All those memories pain his mind so deeply that guilt and shame keep him away from Cordelia.

GENTLEMAN

Alack, poor gentleman!

GENTLEMAN

Oh, the poor man!

KENT

Of Albany’s and Cornwall’s powers you heard not?

KENT

Have you heard about Albany’s and Cornwall’s troops?

GENTLEMAN

’Tis so. They are afoot.

GENTLEMAN

I have. They’re on the march.

KENT

Well, sir, I’ll bring you to our master Lear

And leave you to attend him. Some dear cause

Will in concealment wrap me up awhile.

When I am known aright you shall not grieve

Lending me this acquaintance. I pray you, go

Along with me.

KENT

Well, sir, I’ll take you to Lear and have you stay with him a while. I have important business that requires me to remain in disguise a while longer. When I’ve revealed my true identity, you’ll be glad you took the time to help me out. Please come with me.

Exeunt

They exit.

Act 4, Scene 4

Enter, with drum and colors, CORDELIA, DOCTOR, and soldiers

CORDELIA enters with a DOCTOR and soldiers carrying drums and banners.

CORDELIA

Alack, ’tis he. Why, he was met even now

As mad as the vexed sea, singing aloud,

Crowned with rank fumiter and furrow-weeds,

With burdocks, hemlock, nettles, cuckoo-flowers,

Darnel, and all the idle weeds that grow

In our sustaining corn.—A century send forth.

Search every acre in the high-grown field,

And bring him to our eye.

CORDELIA

Sadly, it’s the king that’s missing. They saw him just now as mad and deranged as the stormy sea, singing loudly, wearing a crown of nettles, thorns, hemlock, and all the other weeds that grow in our cornfields.—Send out a hundred soldiers to find him. Search high and low, in every acre of the fields, and bring him here for me to see him.

Exit some soldiers

Some soldiers exit.

What can man’s wisdom

In the restoring his bereavèd sense?

He that helps him take all my outward worth.

What can human knowledge do to make him sane again? I’d give all my wealth to whoever can help him.

DOCTOR

There is means, madam.

Our foster nurse of nature is repose,

The which he lacks—that to provoke in him

Are many simples operative, whose power

Will close the eye of anguish.

DOCTOR

There is a way, ma’am. Nature heals people with rest, which Lear hasn’t had. But there are many herbs that will help him rest and take his mind off his anguish for a while.

CORDELIA

All blessed secrets,

All you unpublished virtues of the earth,

Spring with my tears. Be aidant and remediate

In the good man’s distress. Seek, seek for him,

Lest his ungoverned rage dissolve the life

That wants the means to lead it.

CORDELIA

Then I’ll water all those precious herbs with my tears to make them grow. May they relieve a sick old man’s suffering. Go find those herbs for him, before his madness puts his life in danger.

Enter SECOND MESSENGER

The SECOND MESSENGER enters.

SECOND MESSENGER

News, madam.

The British powers are marching hitherward.

SECOND MESSENGER

I have news, ma’am. The British forces are on their way here.

CORDELIA

’Tis known before. Our preparation stands

In expectation of them. O dear father,

It is thy business that I go about.

Therefore great France

My mourning and importuned tears hath pitied.

No blown ambition doth our arms incite,

But love—dear love!—and our aged father’s right.

Soon may I hear and see him.

CORDELIA

We already knew that. Our forces are ready for them. Oh, father, I’m taking care of your business. That’s why the King of France listened to my pleas and tears. We’re not invading England out of ambition or greed, but out of love—dear love!—and my father’s right to his kingdom. I hope I see him and hear him again soon.

Exeunt

They all exit.

Act 4, Scene 5

Enter REGAN and the steward OSWALD

REGAN enters with OSWALD.

REGAN

But are my brother’s powers set forth?

REGAN

Have my brother-in-law’s troops been mobilized?

OSWALD

Ay, madam.

OSWALD

Yes, ma’am.

REGAN

Himself in person there?

REGAN

Is he there in person?

OSWALD

Madam, with much ado.

Your sister is the better soldier.

OSWALD

Yes, making a big fuss. Your sister’s the better soldier of the two.

REGAN

Lord Edmund spake not with your lord at home?

REGAN

Lord Edmund didn’t speak to your master at home?

OSWALD

No, madam.

OSWALD

No, ma’am.

REGAN

What might import my sister’s letter to him?

REGAN

What could my sister’s letter to him say?

OSWALD

I know not, lady.

OSWALD

I don’t know, ma’am.

REGAN

Faith, he is posted hence on serious matter.

It was great ignorance, Gloucester’s eyes being out,

To let him live. Where he arrives he moves

All hearts against us. Edmund I think is gone

In pity of his misery to dispatch

His nighted life; moreover to descry

The strength o’ th’ enemy.

REGAN

He rushed away on serious business. It was a huge mistake to let old Gloucester live after we blinded him. Wherever he goes, he inspires compassion and people turn against us. I think Edmund went off to kill him, to put him out of his blind misery. And also to find out the size of the enemy army.

OSWALD

I must needs after him, madam, with my letter.

OSWALD

I have to follow him and give him the letter.

REGAN

Our troops set forth tomorrow. Stay with us.

The ways are dangerous.

REGAN

Our troops are deployed tomorrow. Stay with us tonight. It’s dangerous out there.

OSWALD

I may not, madam.

My lady charged my duty in this business.

OSWALD

I can’t, ma’am. My lady ordered me to deliver her letter.

REGAN

Why should she write to Edmund? Might not you

Transport her purposes by word? Belike

Some things—I know not what. I’ll love thee much.

Let me unseal the letter.

REGAN

Why would she write to Edmund? Couldn’t you just deliver the message orally? It probably has something to do with… I don’t know. I’ll be so grateful to you if you let me open that letter.

OSWALD

Madam, I had rather—

OSWALD

Ma’am, I’d rather—

REGAN

I know your lady does not love her husband.

I am sure of that. And at her late being here

She gave strange oeillades and most speaking looks

To noble Edmund. I know you are of her bosom.

REGAN

I know your lady Goneril doesn’t love her husband. I’m sure of that. And when she was here recently she flirted with Edmund and gave him significant glances. I know she trusts you and tells you everything.

OSWALD

I, madam?

OSWALD

Me, ma’am?

REGAN

I speak in understanding. Y’ are. I know ’t.

Therefore I do advise you, take this note.

My lord is dead. Edmund and I have talked,

And more convenient is he for my hand

Than for your lady’s. You may gather more.

If you do find him, pray you give him this.

And when your mistress hears thus much from you,

I pray desire her call her wisdom to her.

So fare you well.

If you do chance to hear of that blind traitor,

Preferment falls on him that cuts him off.

REGAN

I know what I’m talking about. You’re close to her, I know it. So I recommend you take note of what I’m about to say. My husband is dead. Edmund and I have talked, and it makes more sense for him to marry me than Goneril. You can figure out the rest. If you find him, please give him this. And when your mistress hears about all this, please tell her to use her head next time. So goodbye. If you happen to hear anything about that blind traitor Gloucester, I’ll reward anyone who snuffs him out.

OSWALD

Would I could meet him, madam, I should show

What party I do follow.

OSWALD

If I could run into him, ma’am, I’d prove which side I’m on.

REGAN

Fare thee well.

REGAN

Goodbye.

Exeunt severally

They exit in opposite directions.

Act 4, Scene 6

Enter GLOUCESTER, and EDGAR disguised in peasant clothing

GLOUCESTER enters with EDGAR, who is dressed as a peasant.

GLOUCESTER

When shall we come to th’ top of that same hill?

GLOUCESTER

When will we get to the top of that cliff?

EDGAR

You do climb up it now. Look how we labor.

EDGAR

We’re walking up to the top right now. See how hard it is to climb?

GLOUCESTER

Methinks the ground is even.

GLOUCESTER

The ground feels flat to me.

EDGAR

Horrible steep.

Hark, do you hear the sea?

EDGAR

No, it’s dreadfully steep. Listen. Do you hear the sea?

GLOUCESTER

No, truly.

GLOUCESTER

No, really, I don’t.

EDGAR

Why then, your other senses grow imperfect

By your eyes’ anguish.

EDGAR

Then your other senses must be getting worse because of the trauma of blindness.

GLOUCESTER

So may it be indeed.

Methinks thy voice is altered, and thou speak’st

In better phrase and matter than thou didst.

GLOUCESTER

It may be so. It seems to me that your voice has changed, and that your speech is more elegant than it used to be.

EDGAR

You’re much deceived. In nothing am I changed

But in my garments.

EDGAR

You’re mistaken about all that. The only thing different about me is my clothes.

GLOUCESTER

Methinks you’re better spoken.

GLOUCESTER

I think you’re more articulate.

EDGAR

Come on, sir. Here’s the place. Stand still. How fearful

And dizzy ’tis to cast one’s eyes so low!

The crows and choughs that wing the midway air

Show scarce so gross as beetles. Halfway down

Hangs one that gathers samphire—dreadful trade!

Methinks he seems no bigger than his head.

The fishermen that walk upon the beach

Appear like mice. And yon tall anchoring bark,

Diminished to her cock, her cock a buoy

Almost too small for sight. The murmuring surge

That on th’ unnumbered idle pebbles chafes

Cannot be heard so high. I’ll look no more

Lest my brain turn and the deficient sight

Topple down headlong.

EDGAR

Come on, sir. This is the place. Stand still. It’s so scary to look down! It makes me dizzy. The crows flying down below look as small as ants. Halfway down the cliff there’s somebody clinging to the rock and gathering wild herbs—a risky business! He looks like a dot to me. The fishermen walking along the beach are as small as mice. That big ship over there looks no bigger than its lifeboat, and its lifeboat looks as small as a tiny buoy. Up here you can’t even hear the waves crashing against the rocks. I have to stop looking, or my head will start spinning and I’ll fall.

GLOUCESTER

Set me where you stand.

GLOUCESTER

Lead me to where you’re standing.

EDGAR

Give me your hand. You are now within a foot

Of th’ extreme verge. For all beneath the moon

Would I not leap upright.

EDGAR

Give me your hand. You’re now within a foot of the cliff’s edge. I wouldn’t try to jump up and down here for anything on earth.

GLOUCESTER

Let go my hand.

(gives EDGAR another purse)

Here, friend, ’s another purse, in it a jewel

Well worth a poor man’s taking. Fairies and gods

Prosper it with thee! Go thou farther off.

Bid me farewell, and let me hear thee going.

GLOUCESTER

Let go of my hand. (he gives EDGAR another purse) Here’s another purse, my friend. Inside it there’s a jewel that any poor man would be happy to have. I hope it’s only the beginning of future prosperity for you. Now go further away. Say goodbye to me, and let me hear your footsteps as you walk away.

EDGAR

Now fare you well, good sir.

EDGAR

Goodbye, good sir.

GLOUCESTER

With all my heart.

GLOUCESTER

With all my heart.

EDGAR moves aside

EDGAR moves aside.

EDGAR

(aside) Why I do trifle thus with his despair

Is done to cure it.

EDGAR

(to himself) I’m toying with his despair to cure him of it.

GLOUCESTER

O you mighty gods, (kneels)

This world I do renounce, and in your sights

Shake patiently my great affliction off.

If I could bear it longer and not fall

To quarrel with your great opposeless wills,

My snuff and loathèd part of nature should

Burn itself out. If Edgar live, O, bless him!—

Now, fellow, fare thee well. (falls)

GLOUCESTER

Oh, you mighty gods! (he kneels) I hereby renounce this world and all my troubles and torments. If I could bear them better, and not fight against your unstoppable decisions, then I would simply wait until I expired naturally. If Edgar’s alive, bless him, gods!—Now, man, goodbye. (he falls)

EDGAR

Gone, sir. Farewell.

(aside) And yet I know not how conceit may rob

The treasury of life when life itself

Yields to the theft. Had he been where he thought,

By this had thought been past. Alive or dead?—

Ho you, sir, friend! Hear you, sir? Speak.—

Thus might he pass indeed. Yet he revives.—

What are you, sir?

EDGAR

Gone, sir. Goodbye. (to himself) But I still wonder if it’s possible for his own imagination to kill him, since he’s so willing to die. If he’d been standing on the edge of the cliff as he thought, he’d be dead right now. Is he alive or dead?—Hey, sir, friend! Can you hear me? Answer me.—Maybe he passed away after all. But no, he’s stirring.—Who are you, sir?

GLOUCESTER

Away, and let me die.

GLOUCESTER

Go away and let me die.

EDGAR

Hadst thou been aught but gossamer, feathers, air,

So many fathom down precipitating,

Thou’dst shivered like an egg. But thou dost breathe,

Hast heavy substance, bleed’st not, speak’st, art sound.

Ten masts at each make not the altitude

Which thou hast perpendicularly fell.

Thy life’s a miracle. Speak yet again.

EDGAR

Even if you were made of feathers and air, you should’ve been smashed in pieces like an egg after falling as far as you just did. But your flesh is solid, your mind is strong, you’re breathing and talking, you’re not bleeding. You just fell the height of ten ship masts, straight down. It’s a miracle you’re alive. Say something again.

GLOUCESTER

But have I fall’n, or no?

GLOUCESTER

But did I fall or not?

EDGAR

From the dread summit of this chalky bourn.

Look up a-height. The shrill-gorged lark so far

Cannot be seen or heard. Do but look up.

EDGAR

You fell from the terrifying top of this chalk cliff. Look for yourself—see the top of the cliff way up there? The lark shrilly singing up there is too far away to be heard. Just look.

GLOUCESTER

Alack, I have no eyes.

Is wretchedness deprived that benefit,

To end itself by death? ’Twas yet some comfort

When misery could beguile the tyrant’s rage

And frustrate his proud will.

GLOUCESTER

I can’t. I have no eyes. If you’re wretched and desperate, aren’t you allowed to kill yourself? It used to be the last ditch comfort of miserable people.

EDGAR

Give me your arm.

Up so. How is ’t? Feel you your legs? You stand.

EDGAR

Give me your arm. Get up. There you go. How do you feel? Can you feel your legs? You’re standing.

GLOUCESTER

Too well, too well.

GLOUCESTER

Only too well.

EDGAR

This is above all strangeness.

Upon the crown o’ th’ cliff, what thing was that

Which parted from you?

EDGAR

This is beyond weird. What was that thing I saw moving away from you up on the cliff before you fell?

GLOUCESTER

A poor unfortunate beggar.

GLOUCESTER

That was a poor unlucky beggar.

EDGAR

As I stood here below, methought his eyes

Were two full moons. He had a thousand noses,

Horns whelked and waved like the enragèd sea.

It was some fiend. Therefore, thou happy father,

Think that the clearest gods, who make them honors

Of men’s impossibilities, have preserved thee.

EDGAR

From down here, I thought his eyes looked like full moons. He had a thousand noses and twisted horns, like wave crests in a storm at sea. It was some devil. You lucky old man, it seems that the gods have saved your life. They love to perform miracles so that humans will worship them.

GLOUCESTER

I do remember now. Henceforth I’ll bear

Affliction till it do cry out itself,

“Enough, enough,” and die. That thing you speak of,

I took it for a man. Often ’twould say,

“The fiend, the fiend!” He led me to that place.

GLOUCESTER

I understand now. From now on I’ll put up with my anguish until the anguish itself cries out, “Enough, enough!” and disappears. I thought that thing you’re talking about was a man. It would often talk about the devil. It took me to that deadly place.

EDGAR

Bear free and patient thoughts.

EDGAR

Cheer up and be at peace.

Enter LEAR, mad

LEAR enters, insane.

But who comes here?

The safer sense will ne’er accommodate

His master thus.

But who is that? A sane person would never dress like this.

LEAR

No, they cannot touch me for coining. I am the king himself.

LEAR

No, they can’t accuse me of counterfeiting coins. I’m the king himself.

EDGAR

(aside) O thou side-piercing sight!

EDGAR

(to himself) Oh, what a heartbreaking sight!

LEAR

Nature’s above art in that respect. There’s your press- money. That fellow handles his bow like a crowkeeper. Draw me a clothier’s yard. Look, look, a mouse! Peace, peace, this piece of toasted cheese will do ’t. There’s my gauntlet. I’ll prove it on a giant. Bring up the brown bills. O, well flown, bird. I’ th’ clout, i’ th’ clout. Hewgh! Give the word.

LEAR

Life’s better at breaking hearts than art is.—Hey, a new recruit. Here’s your enlistment bonus.—Look how awkwardly he handles his crossbow.—Come on, pull it back farther!—Look, look, a mouse! Calm down, this piece of cheese will get him.—I challenge you to a match. I’ll even fight a giant.—Call out the infantry. —Oh, that arrow was well shot. Whoosh! Right in the bull’s eye.-—What’s the password?

EDGAR

Sweet marjoram.

EDGAR

Sweet marjoram.

LEAR

Pass.

LEAR

That’s it!

GLOUCESTER

I know that voice.

GLOUCESTER

I know that voice.

LEAR

Ha! Goneril with a white beard? Ha, Regan? They flattered me like a dog and told me I had white hairs in my beard ere the black ones were there. To say “Ay” and “No” to everything that I said “Ay” and “No” to was no good divinity. When the rain came to wet me once, and the wind to make me chatter, when the thunder would not peace at my bidding—there I found ’em, there I smelt ’em out. Go to, they are not men o’ their words. They told me I was everything. ’Tis a lie, I am not ague-proof.

LEAR

Ha! Goneril with a white beard? Ha, Regan?—They flattered me and told me how wise I was, wise before my time. To agree to everything I said was not truly devout.—The rain came to drench me, and the wind to make me shiver, and the thunder wouldn’t stop roaring when I ordered it to. That’s when I learned the truth about them. That’s when I sniffed them out. I tell you, they are not honest men. They told me I was everything. It’s a lie. I’m not immune to chills.

GLOUCESTER

The trick of that voice I do well remember.

Is ’t not the king?

GLOUCESTER

I recognize something about that voice. Isn’t that the king?

LEAR

Ay, every inch a king. When I do stare, see how the subject quakes. I pardon that man’s life. What was thy cause? Adultery? Thou shalt not die. Die for adultery? No. The wren goes to ’t, and the small gilded fly does lecher in my sight. Let copulation thrive, for Gloucester’s bastard son Was kinder to his father than my daughters got ’tween the lawful sheets. To ’t, luxury, pell-mell—for I lack soldiers. Behold yond simpering dame, whose face between her forks presages snow, that minces virtue and does shake the head to hear of pleasure’s name. The fitchew, nor the soiled horse, goes to ’t with a more riotous appetite. Down from the waist they are centaurs, though women all above. But to the girdle do the gods inherit; beneath is all the fiends’. There’s hell, there’s darkness, there’s the sulfurous pit— burning, scalding, stench, consumption! Fie, fie, fie, pah, pah!—Give me an ounce of civet, good apothecary, to sweeten my imagination. There’s money for thee.

LEAR

Yes, every inch a king. My subjects tremble when I look at them. I pardon that man. What are you accused of? Adultery? I’ll commute your death sentence. To die for adultery? No. Little birds do it, and dragonflies copulate right in front of me. Let’s have more sex in the world, since Gloucester’s bastard son was kinder to him than my daughters, conceived in lawful wedlock, have been to me. Get to it, be lustful, sleep around—I need soldiers for my army. Look at that simpering lady over there. From looking at her face, I’d say she’s frigid. She pretends to be virtuous and to disdain the word “sex, but she’s hornier than a passel of rabbits. Women are sex machines below the waist, though they’re chaste up above. Above the waist they belong to God, but the lower part belongs to the devil. That’s where hell is, and darkness, and fires and stench! Death and orgasm! Ah, ah, ah! Give me an aphrodisiac, pharmacist. Let me have sweet dreams. There’s money in it for you.

GLOUCESTER

O, let me kiss that hand!

GLOUCESTER

Oh, let me kiss his hand!

LEAR

Let me wipe it first. It smells of mortality.

LEAR

Let me wipe it off first. It stinks of death.

GLOUCESTER

O ruined piece of nature! This great world

Shall so wear out to naught. Dost thou know me?

GLOUCESTER

A ruined man! This is how the whole world will end up, worn away to nothing.—Do you know who I am?

LEAR

I remember thine eyes well enough. Dost thou squiny at me? No, do thy worst, blind Cupid. I’ll not love. Read thou this challenge. Mark but the penning of it.

LEAR

I remember your eyes quite well. Are you squinting at me? Go ahead, try to make me fall in love, blind Cupid. I won’t ever love again. Read this letter. Just look at the handwriting.

GLOUCESTER

Were all thy letters suns, I could not see one.

GLOUCESTER

If every letter on that page were a sun, I couldn’t see even one of them.

EDGAR

(aside) I would not take this from report. It is,

And my heart breaks at it.

EDGAR

(to himself) I wouldn’t believe this if I weren’t seeing it with my own eyes. It’s real, and it breaks my heart.

LEAR

Read.

LEAR

Read it.

GLOUCESTER

What, with the case of eyes?

GLOUCESTER

How? With my eye sockets?

LEAR

Oh ho, are you there with me? No eyes in your head, nor no money in your purse? Your eyes are in a heavy case, your purse in a light. Yet you see how this world goes.

LEAR

Oh ho, is that what you’re getting at? You want money before you’ll read? No eyes in your head til there’s money in your wallet? Your eyes are in a bad way, your wallet’s empty, but you understand the ways of the world.

GLOUCESTER

I see it feelingly.

GLOUCESTER

I do understand, by touch.

LEAR

What, art mad? A man may see how this world goes with no eyes. Look with thine ears. See how yon justice rails upon yon simple thief. Hark in thine ear: change places and, handy-dandy, which is the justice, which is the thief? Thou hast seen a farmer’s dog bark at a beggar?

LEAR

What, are you crazy? You don’t need eyes to see how the world works. Look with your ears. Look how the judge yells at a simple thief. Listen. But mix them up, have them switch places, and do you think you’d be able to tell which one is which? Have you seen a farmer’s dog bark at a beggar?

GLOUCESTER

Ay, sir.

GLOUCESTER

Yes, sir.

LEAR

And the creature run from the cur? There thou mightst behold the great image of authority: a dog’s obeyed in office.

Thou rascal beadle, hold thy bloody hand.

Why dost thou lash that whore? Strip thine own back.

Thou hotly lust’st to use her in that kind

For which thou whipp’st her. The usurer hangs the cozener.

Through tattered clothes great vices do appear;

Robes and furred gowns hide all. Plate sin with gold,

And the strong lance of justice hurtless breaks.

Arm it in rags, a pigmy’s straw does pierce it.

None does offend—none, I say, none. I’ll able ’em.

Take that of me, my friend, who have the power

To seal th’ accuser’s lips. Get thee glass eyes,

And like a scurvy politician seem

To see the things thou dost not. Now, now, now, now,

Pull off my boots. Harder, harder. So.

LEAR

And you saw how the beggar ran from the mutt? That’s authority! Even a dog is obeyed sometimes. You stupid cop, stop your violence! Why are you whipping that whore? You should be whipping yourself, since you lust after her and yearn to do the same thing for which you’re punishing her. One criminal punishes another. Poor men’s sins are much more noticeable than rich men’s. Cover up a crime with gold and the arm of justice can’t touch it. But dress the crime in rags and it’s caught easily. Everyone sins. You can’t blame anyone for it anyone, I say. I’ll vouch for that. Believe me, my friend, since I have the power to stop the prosecutors. Get yourself some glass eyes, and pretend to see things you can’t, like a crooked politician. Now, now, now, now. Pull off my boots. Harder, harder. Like that.

EDGAR

(aside) O matter and impertinency mixed! Reason in madness!

EDGAR

(to himself) Oh, wisdom and absurdity mixed up together! Reason in madness!

LEAR

If thou wilt weep my fortunes, take my eyes.

I know thee well enough. Thy name is Gloucester.

Thou must be patient. We came crying hither.

Thou know’st the first time that we smell the air

We wawl and cry. I will preach to thee. Mark me.

LEAR

If you want to cry over my bad luck, I’ll give you my eyes. I know you. Your name’s Gloucester. You have to be patient with me. I came here crying. The first time we see the world as newborns, we cry and scream. I’ll read you a sermon. Listen to this.

GLOUCESTER

Alack, alack the day!

GLOUCESTER

Oh, how awful!

LEAR

When we are born, we cry that we are come

To this great stage of fools. This a good block.

It were a delicate stratagem to shoe

A troop of horse with felt. I’ll put ’t in proof.

And when I have stol’n upon these sons-in-law,

Then, kill, kill, kill, kill, kill, kill!

LEAR

When we’re born, we cry because we’ve arrived on the stage of life, like all the other fools. That’s a nice hat you’ve got there. How ingenious to make horseshoes out of felt. I’ll test it out. And when I’ve sneaked up on my sons-in-law, then I’ll kill, kill, kill, kill, kill, kill!

Enter GENTLEMAN with two others

The GENTLEMAN enters with two other gentlemen.

GENTLEMAN

Oh, here he is. Lay hand upon him.—Sir,

Your most dear daughter—

GENTLEMAN

(noticing LEAR) Oh, here he is. Grab him.—Sir, your most dear daughter—

LEAR

No rescue? What, a prisoner? I am even

The natural fool of fortune. Use me well.

You shall have ransom. Let me have surgeons.

I am cut to th’ brains.

LEAR

What, I’m a prisoner? No rescue for me? My luck has always been bad. Treat me well. There’s a ransom. I need a doctor. My brains are injured.

GENTLEMAN

You shall have anything.

GENTLEMAN

You can have anything you want.

LEAR

No seconds? All myself?

Why, this would make a man a man of salt,

To use his eyes for garden water-pots,

Ay, and laying autumn’s dust.

LEAR

Will no one back me up? Am I all alone? That would make anyone cry enough to water his garden with his tears.

GENTLEMAN

Good sir—

GENTLEMAN

Good sir—

LEAR

I will die bravely, like a smug bridegroom.

What, I will be jovial. Come, come.

I am a king, my masters, know you that?

LEAR

I’ll die courageously, like a well-dressed bridegroom. Okay, I’ll be cheery. I’m king. Did you know that, gentlemen?

GENTLEMAN

You are a royal one, and we obey you.

GENTLEMAN

You’re of royal blood, and we obey you.

LEAR

Then there’s life in ’t. Come, an if you get it, you shall get it by running. Sa, sa, sa, sa.

LEAR

Then there’s still a chance. Come and get it! But you’ll have to catch me! Catch me if you can! Sa, sa, sa, sa.

Exit LEAR running, followed by two gentlemen

LEAR exits running, chased by two gentlemen.

GENTLEMAN

A sight most pitiful in the meanest wretch,

Past speaking of in a king. Thou hast a daughter

Who redeems nature from the general curse

Which twain have brought her to.

GENTLEMAN

This is a difficult to see even in a beggar. In a king, the sight is unbearable. He has a daughter good enough to cancel out the wickedness of the other two.

EDGAR

Hail, gentle sir.

EDGAR

Hello, good sir.

GENTLEMAN

Sir, speed you. What’s your will?

GENTLEMAN

How do you do, sir. How can I help you?

EDGAR

Do you hear aught, sir, of a battle toward?

EDGAR

Have you heard any news of impending battle?

GENTLEMAN

Most sure and vulgar. Everyone hears that

That can distinguish sound.

GENTLEMAN

Certainly. Everyone who can hear has heard about it.

EDGAR

But, by your favor, how near’s the other army?

EDGAR

Could you tell me how near the enemy is?

GENTLEMAN

Near and on speedy foot. The main descry

Stands in the hourly thought.

GENTLEMAN

Very near, and approaching fast. The main body of the army is expected here any hour now.

EDGAR

I thank you, sir. That’s all.

EDGAR

Thank you, sir. That’s all I wanted to know.

GENTLEMAN

Though that the queen on special cause is here,

Her army is moved on.

GENTLEMAN

The queen is here on special business, and her army has moved on.

EDGAR

I thank you, sir.

EDGAR

Thank you, sir.

Exit GENTLEMAN

The GENTLEMAN exits.

GLOUCESTER

You ever gentle gods, take my breath from me.

Let not my worser spirit tempt me again

To die before you please.

GLOUCESTER

Gentle gods in heaven, please let me die. Don’t tempt me to suicide again.

EDGAR

Well pray you, father.

EDGAR

Pray well, father.

GLOUCESTER

Now, good sir, what are you?

GLOUCESTER

And who are you, good sir?

EDGAR

A most poor man made tame to fortune’s blows,

Who by the art of known and feeling sorrows

Am pregnant to good pity. Give me your hand,

I’ll lead you to some biding.

EDGAR

I’m a poor man who’s been humbled by many misfortunes. I’ve had enough sorrow in my life to feel compassion for others. Give me your hand. I’ll lead you to some shelter.

GLOUCESTER

Hearty thanks.

The bounty and the benison of heaven

To boot and boot.

GLOUCESTER

Thank you very much. May heaven bless you.

Enter OSWALD the steward

OSWALD enters.

OSWALD

A proclaimed prize! Most happy!

That eyeless head of thine was first framed flesh

To raise my fortunes. Thou old unhappy traitor,

Briefly thyself remember. The sword is out

That must destroy thee.

OSWALD

What good luck! I’ll get the promised reward. That blind head of yours was created to make me rich. You old traitor, repent all your sins. Prepare to die.

GLOUCESTER

Now let thy friendly hand

Put strength enough to ’t.

GLOUCESTER

Death is exactly what I want. I hope you’re strong enough to do it.

EDGAR interferes

EDGAR steps in between GLOUCESTER and OSWALD.

OSWALD

Wherefore, bold peasant,

Darest thou support a published traitor? Hence,

Lest that th’ infection of his fortune take

Like hold on thee. Let go his arm.

OSWALD

Whoa, man, you dare to support someone who’s been proclaimed a traitor? Get out of here, before his bad luck infects you too. Let go of his arm.

EDGAR

’Chill not let go, zir, without vurther ’casion.

EDGAR

Oh no, sir, I won’t let him go, sir, not without a good reason.

OSWALD

Let go, slave, or thou diest!

OSWALD

Let go of him, peasant, or you die!

EDGAR

Good gentleman, go your gait, and let poor volk pass. An ’chud ha’ bin zwaggered out of my life, ’twould not ha’ bin zo long as ’tis by a vortnight. Nay, come not near th’ old man. Keep out, che vor’ ye, or I’se try whether your costard or my ballow be the harder. ’Chill be plain with you.

EDGAR

Get on with your business, sir, and leave the poor people alone. If macho talk like yours could kill me, I’d have died weeks ago. No, don’t come near the old man. Keep away, I’m warning you, or I’ll find out whether your head is harder than my walking stick. I’m completely serious.

OSWALD

Out, dunghill!

OSWALD

Get out of here, you pile of crap.

EDGAR

’Chill pick your teeth, zir. Come, no matter vor your foins.

EDGAR

I’ll knock your teeth out, sir. To hell with your sword.

EDGAR and OSWALD fight

EDGAR and OSWALD fight.

OSWALD

(falling) Slave, thou hast slain me. Villain, take my purse.

If ever thou wilt thrive, bury my body.

And give the letters which thou find’st about me

To Edmund, Earl of Gloucester. Seek him out

Upon the British party. O untimely death! (dies)

OSWALD

(falling) You peasant, you’ve killed me! Villain, take my money. If you survive, make sure I have a decent burial. Give the letters I’m carrying to Edmund, Earl of Gloucester. He’s with the English camp. Oh, early death! (he dies)

EDGAR

I know thee well—a serviceable villain,

As duteous to the vices of thy mistress

As badness would desire.

EDGAR

I know you well. You’re a hardworking villain who’d do anything his evil mistress wanted him to.

GLOUCESTER

What, is he dead?

GLOUCESTER

Is he dead?

EDGAR

Sit you down, father. Rest you.

Let’s see these pockets. The letters that he speaks of

May be my friends. He’s dead. I am only sorry

He had no other death’s-man. Let us see.

(takes letters out of OSWALD’s pocket and opens them)

Leave, gentle wax, and, manners, blame us not.

To know our enemies’ minds, we rip their hearts.

Their papers is more lawful.

(reads)

”Let our reciprocal vows be remembered. You have many opportunities to cut him off. If your will want not, time and place will be fruitfully offered. There is nothing done if he return the conqueror. Then am I the prisoner and his bed my gaol, from the loathed warmth whereof deliver me, and supply the place for your labor. Your—wife, so I would say—affectionate servant, and for you her own for venture,

Goneril.“

O indistinguished space of woman’s will!

A plot upon her virtuous husband’s life,

And the exchange my brother!—Here in the sands

Thee I’ll rake up, the post unsanctified

Of murderous lechers. And in the mature time

With this ungracious paper strike the sight

Of the death-practiced duke. For him ’tis well

That of thy death and business I can tell.

EDGAR

Sit down and rest, father. Let’s look in his pockets. The letters he spoke of may help me. He’s dead. I’m just sorry I had to be the one to kill him. Let’s see here.

(takes letters out of OSWALD’s pocket and opens them)

Come on, envelope, open up for me. I know it’s bad manners, but we kill our enemies to know their secrets. Reading their mail isn’t as bad.

(reads)

”Don’t forget the vows we made to each other. You have many chances to kill Albany. If you have the strength of will to do it, you’ll have many opportunities. If he returns in triumph, then all is lost. I’ll be his prisoner, and his bed will be my prison. Help me escape him, and you can take his place. Your—I wish I could say “wife”—loving servant, who is ready to love you,

Goneril."

Is there no limit to women’s lust? She’s plotting against the life of her virtuous husband, and wants my brother to replace him! (to the dead OSWALD) I’ll bury you here in a shallow grave, you messenger for lustful criminals. In due time I’ll show this ugly letter to the duke whose life’s at risk. It’s a good thing for him that I can tell him about your death and the letter you were carrying.

GLOUCESTER

The king is mad. How stiff is my vile sense,

That I stand up and have ingenious feeling

Of my huge sorrows. Better I were distract—

So should my thoughts be severed from my griefs,

And woes by wrong imaginations lose

The knowledge of themselves.

GLOUCESTER

The king is insane. I hate the fact that I’m sane enough to be aware of my own great suffering. It’d be better to be delirious and unaware of anything. Then my mind would be free of sorrow, and sadness would be forgotten in my hallucinations.

Drum afar off

Drums play in the distance.

EDGAR

Give me your hand.

Far off methinks I hear the beaten drum.

Come, father, I’ll bestow you with a friend.

EDGAR

Give me your hand. I think I hear the drums far away. Come, father, I’ll leave you at a friend’s house.

Exeunt

They exit.

Act 4, Scene 7

Enter CORDELIA, KENT disguised, GENTLEMAN, and DOCTOR

CORDELIA enters with KENT in disguise, the GENTLEMAN, and the DOCTOR.

CORDELIA

O thou good Kent, how shall I live and work

To match thy goodness? My life will be too short,

And every measure fail me.

CORDELIA

Oh, Kent, what could I ever do to become as good as you are? I won’t live long enough, and all my efforts will fail me.

KENT

To be acknowledged, madam, is o’erpaid.

All my reports go with the modest truth,

Nor more, nor clipped, but so.

KENT

Just being thanked is more than enough for me, madam. I hope all reports about me simply tell the truth, no more or less.

CORDELIA

Be better suited.

These weeds are memories of those worser hours.

I prithee, put them off.

CORDELIA

Change into better clothes. These rags will just remind us of those bad times when you had to wear a disguise. Please take them off.

KENT

Pardon, dear madam.

Yet to be known shortens my made intent.

My boon I make it that you know me not

Till time and I think meet.

KENT

I’m sorry, madam, but I can’t do that yet. If people recognize me now, I won’t be able to carry out my plans. I have to ask you, as a favor, not to let on that you recognize me until the time is right.

CORDELIA

Then be ’t so, my good lord.—

How does the king?

CORDELIA

All right, my lord.—How’s the king doing?

DOCTOR

Madam, sleeps still.

DOCTOR

He’s still sleeping, ma’am.

CORDELIA

O you kind gods,

Cure this great breach in his abusèd nature,

Th’ untuned and jarring senses, O, wind up,

Of this child-changèd father!

CORDELIA

Kind gods, heal the wounds that he’s wrongly suffered! Restore the sanity of this father whose children have driven him mad and changed him into a child again!

DOCTOR

So please your majesty

That we may wake the king? He hath slept long.

DOCTOR

Would you mind if we woke up the king? He’s slept a long time.

CORDELIA

Be governed by your knowledge, and proceed

I’ th’ sway of your own will. Is he arrayed?

CORDELIA

Do whatever you think best. Is he in his royal garments?

Enter LEAR asleep in a chair carried by servants

Servants carry in LEAR sleeping in a chair.

GENTLEMAN

Ay, madam. In the heaviness of his sleep

We put fresh garments on him.

GENTLEMAN

Yes, ma’am. We changed his clothes while he was fast asleep.

DOCTOR

Be by, good madam, when we do awake him.

I doubt not of his temperance.

DOCTOR

Stay close by when we wake him up, ma’am. I’m sure he will stay under control.

CORDELIA

Very well.

CORDELIA

All right.

DOCTOR

Please you, draw near.—Louder the music there!

DOCTOR

Please come closer.— Make the music louder, please!

CORDELIA

(kisses LEAR) O my dear father, restoration hang

Thy medicine on my lips, and let this kiss

Repair those violent harms that my two sisters

Have in thy reverence made!

CORDELIA

(kisses LEAR) Oh, my dear father, please get better. May my kiss heal the wounds inflicted on you by my sisters—who should have respected and cherished you.

KENT

Kind and dear princess!

KENT

Kind and dear princess!

CORDELIA

Had you not been their father, these white flakes

Did challenge pity of them. Was this a face

To be opposed against the warring winds?

To stand against the deep dread-bolted thunder

In the most terrible and nimble stroke

Of quick cross lightning? To watch—poor perdu!—

With this thin helm? Mine enemy’s meanest dog,

Though he had bit me, should have stood that night

Against my fire. And wast thou fain, poor father,

To hovel thee with swine and rogues forlorn

In short and musty straw? Alack, alack!

’Tis wonder that thy life and wits at once

Had not concluded all.—He wakes. Speak to him.

CORDELIA

If you hadn’t been their father, your white hair would have inspired in them only compassion. Is this a face that should have endured the freezing winds or withstood the dreadful thunder or the terrible lightning? To stay awake all night like a guardsman—poor lost soul!—with only your thinning hair for a helmet? I would’ve let even my enemy’s nastiest dog stay inside by the fireplace on that night, even if he had bit me. And were you then happy to find shelter on a bed of hay along with swine and homeless bums? Oh, oh! It’s a wonder you didn’t lose your life and your mind all at once.—He’s waking up. Talk to him.

DOCTOR

Madam, do you. ’Tis fittest.

DOCTOR

You talk to him, ma’am. That’s most appropriate.

CORDELIA

How does my royal lord? How fares your majesty?

CORDELIA

How are you, my royal lord? How is your majesty doing?

LEAR

You do me wrong to take me out o’ th’ grave.

Thou art a soul in bliss, but I am bound

Upon a wheel of fire, that mine own tears

Do scald like molten lead.

LEAR

You do me wrong by taking me out of the grave. You’re a soul in heaven, but I’m tied to the fiery wheel of a torture machine in hell. Even my tears burn me like molten lead.

CORDELIA

Sir, do you know me?

CORDELIA

Sir, do you know who I am?

LEAR

You are a spirit, I know. Where did you die?

LEAR

You’re a spirit, I know. Where did you die?

CORDELIA

(aside to DOCTOR) Still, still far wide!

CORDELIA

(whispering to the DOCTOR) He’s still in outer space.

DOCTOR

He’s scarce awake. Let him alone awhile.

DOCTOR

He’s still half asleep. Let him be for a bit.

LEAR

Where have I been? Where am I? Fair daylight?

I am mightily abused. I should ev’n die with pity

To see another thus. I know not what to say.

I will not swear these are my hands. Let’s see.

I feel this pinprick. Would I were assured

Of my condition.

LEAR

Where have I been? Where am I? Is it daytime? I’ve been tricked. I would die of pity to see someone else in my condition. I don’t know what to say. I can’t even be sure these are my hands. Let’s see. I feel this pinprick. I wish I knew what is happening.

CORDELIA

(kneels)

O, look upon me, sir,

And hold your hands in benediction o’er me.

No, sir, you must not kneel.

CORDELIA

(kneeling) Look at me, sir, and give me your blessing. No, sir, don’t kneel.

LEAR

Pray, do not mock me.

I am a very foolish fond old man,

Fourscore and upward, not an hour more nor less.

And to deal plainly

I fear I am not in my perfect mind.

Methinks I should know you, and know this man.

Yet I am doubtful, for I am mainly ignorant

What place this is, and all the skill I have

Remembers not these garments. Nor I know not

Where I did lodge last night. Do not laugh at me,

For as I am a man, I think this lady

To be my child Cordelia.

LEAR

Please don’t make fun of me. I’m a foolish, senile old man, eighty-something years old, not an hour more or less. To put it plainly, I’m afraid I’m not quite sane. I feel I should recognize you and that man (he points to KENT), but I’m not sure. I don’t know where I am. I don’t remember these clothes. I can’t recall where I slept last night. Don’t laugh at me, but I swear I think this lady is my child Cordelia.

CORDELIA

And so I am, I am.

CORDELIA

And I am, I am.

LEAR

Be your tears wet? Yes, faith. I pray, weep not.

If you have poison for me, I will drink it.

I know you do not love me, for your sisters

Have, as I do remember, done me wrong.

You have some cause; they have not.

LEAR

Are your tears wet? Yes, indeed they are. Please don’t cry. If you have poison for me, I’ll drink it. I know you don’t love me. If I remember, your sisters did me wrong for no reason. But you didn’t, even though you had every reason.

CORDELIA

No cause, no cause.

CORDELIA

I had no reason, no reason.

LEAR

Am I in France?

LEAR

Am I in France?

KENT

In your own kingdom, sir.

KENT

You’re in your own kingdom, sir.

LEAR

Do not abuse me.

LEAR

Don’t deceive me.

DOCTOR

Be comforted, good madam. The great rage,

You see, is killed in him. And yet it is danger

To make him even o’er the time he has lost.

Desire him to go in. Trouble him no more

Till further settling.

DOCTOR

You can relax, ma’am. His insane period is over. But it’s dangerous to make him try to make sense of the time he lost. Ask him to go in. Don’t trouble him further until his mind is more settled.

CORDELIA

Will ’t please your highness walk?

CORDELIA

Would your highness like to take a walk?

LEAR

You must bear with me.

Pray you now, forget and forgive.

I am old and foolish.

LEAR

You’ll have to bear with me. Please forgive and forget. I’m old and foolish.

Exeunt

They exit.

Manent KENT and GENTLEMAN

KENT and the GENTLEMAN remain.

GENTLEMAN

Holds it true, sir, that the Duke of Cornwall was so slain?

GENTLEMAN

Is it true, sir, that the Duke of Cornwall was killed as they say?

KENT

Most certain, sir.

KENT

Yes, it’s true, sir.

GENTLEMAN

Who is conductor of his people?

GENTLEMAN

Who is leading his men?

KENT

As ’tis said, the bastard son of Gloucester.

KENT

They say Gloucester’s bastard son is.

GENTLEMAN

They say Edgar, his banished son, is with the Earl of Kent in Germany.

GENTLEMAN

I hear that Edgar, Gloucester’s exiled son, is with the Earl of Kent in Germany.

KENT

Report is changeable. Tis time to look about. The powers of the kingdom approach apace.

KENT

You can’t trust all the rumors. It’s time to reassess the situation. The British troops are coming near.

GENTLEMAN

The arbitrament is like to be bloody. Fare you well, sir.

GENTLEMAN

It will likely be a bloody fight. Goodbye, sir.

Exit GENTLEMAN

He exits.

KENT

My point and period will be throughly wrought,

Or well or ill, as this day’s battle’s fought.

KENT

My life and my plans completely depend on how today’s battle ends.

Exit

He exits.

Act 5, Scene 1

Enter with drum and colors EDMUND, REGAN, gentlemen, and soldiers

EDMUND, REGAN, gentlemen, and soldiers enter with drums and banners.

EDMUND

(to a gentleman) Know of the duke if his last purpose hold,

Or whether since he is advised by aught

To change the course. He’s full of alteration

And self-reproving. Bring his constant pleasure.

EDMUND

(to a gentleman) Go find out from the Duke of Albany if his decision still holds, or if he’s changed his mind. He’s always going back and forth and second-guessing himself. Come back and tell me what his final decision is.

Exit gentleman

Gentleman exits.

REGAN

Our sister’s man is certainly miscarried.

REGAN

My sister’s servant Oswald has certainly run into trouble.

EDMUND

’Tis to be doubted, madam.

EDMUND

I’m afraid that may be the case, madam.

REGAN

Now, sweet lord,

You know the goodness I intend upon you.

Tell me but truly—but then speak the truth—

Do you not love my sister?

REGAN

Now, my sweet lord, you know how much I like you. Tell me truthfully, do you love my sister?

EDMUND

In honored love.

EDMUND

Yes, truly and honorably.

REGAN

But have you never found my brother’s way

To the forfended place?

REGAN

But have you ever gone in my brother-in-law’s bed and had sex with her?

EDMUND

That thought abuses you.

EDMUND

No. You dishonor yourself and our relationship by thinking that.

REGAN

I am doubtful that you have been conjunct

And bosomed with her as far as we call hers.

REGAN

I’m just worried that you’ve been cozying up to her, and gotten intimate with her.

EDMUND

No, by mine honor, madam.

EDMUND

No, I swear on my honor, I haven’t, madam.

REGAN

I never shall endure her. Dear my lord,

Be not familiar with her.

REGAN

I can’t stand her. Please, my lord, don’t be friendly with her.

EDMUND

Fear me not.—

She and the duke her husband!

EDMUND

Don’t worry about me.—Your sister and the duke are here.

Enter with drum and colors ALBANY and GONERIL, with troops

ALBANY, GONERIL, and soldiers enter with drums and banners.

GONERIL

(aside) I had rather lose the battle than that sister

Should loosen him and me.

GONERIL

(to herself) I’d rather lose this battle than allow that sister of mine to come between me and Edmund.

ALBANY

Our very loving sister, well bemet.—

Sir, this I hear: the king is come to his daughter,

With others whom the rigor of our state

Forced to cry out. Where I could not be honest

I never yet was valiant. For this business,

It touches us as France invades our land,

Not bolds the king, with others whom I fear

Most just and heavy causes make oppose.

ALBANY

My dear and loving sister-in-law, I’m happy to see you. (to EDMUND) Sir, I’ve heard that the king has joined up with his daughter as well as others who have complained about our strict policies. I’ve never fought for a cause I didn’t believe in. I’m concerned about the French because they have invaded our soil, not because they support King Lear or those others—who, I’m afraid, may have legitimate grievances against us.

EDMUND

Sir, you speak nobly.

EDMUND

Noble words, sir.

REGAN

Why is this reasoned?

REGAN

Why are we talking about this?

GONERIL

Combine together ’gainst the enemy,

For these domestic and particular broils

Are not the question here.

GONERIL

We must join forces against the enemy. Our domestic squabbles are not the issue here.

ALBANY

Let’s then determine with the ancient of war

On our proceedings.

ALBANY

Then let’s meet with our senior command and discuss what to do next.

EDMUND

I shall attend you presently at your tent.

EDMUND

I’ll meet you at your tent.

REGAN

Sister, you’ll go with us?

REGAN

Goneril, are you coming with us?

GONERIL

No.

GONERIL

No.

REGAN

’Tis most convenient. Pray you, go with us.

REGAN

It’s the best thing to do. Please come with me.

GONERIL

(aside) Oh ho, I know the riddle.—I will go.

GONERIL

(to herself) Oh ho, I know her little tricks.—Okay, I’ll go.

Enter EDGAR disguised

EDGAR enters, disguised as a peasant.

EDGAR

(to ALBANY) If e’er your grace had speech with man so poor,

Hear me one word.

EDGAR

(to ALBANY) If you can stoop to speak to a man as poor as I am, then listen to me, please.

ALBANY

(to EDMUND, REGAN, and GONERIL)

I’ll overtake you.—

ALBANY

(to EDMUND, REGAN, and GONERIL exiting) I’ll catch up with you.—

Exeunt all but ALBANY and EDGAR

Everyone exits except ALBANY and EDGAR.

Speak.

Go ahead.

EDGAR

(giving ALBANY a letter)

Before you fight the battle, ope this letter.

If you have victory, let the trumpet sound

For him that brought it. Wretched though I seem,

I can produce a champion that will prove

What is avouchèd there. If you miscarry,

Your business of the world hath so an end,

And machination ceases. Fortune love you.

EDGAR

(giving ALBANY a letter) Before you go into battle, open this letter. If you win, then blow your trumpet as a signal for me. I may look wretched, but I’ll bravely stand up to defend my claims. If you die in battle, all your projects and this plan are off. Good luck to you.

ALBANY

Stay till I have read the letter.

ALBANY

Wait until I read the letter.

EDGAR

I was forbid it.

When time shall serve, let but the herald cry,

And I’ll appear again.

EDGAR

I was ordered not to. When the time comes, tell the herald to blow the trumpet and I’ll return.

ALBANY

Why, fare thee well. I will o’erlook thy paper.

ALBANY

Goodbye, then. I’ll take a look at your letter.

Exit EDGAR

EDGAR exits.

Enter EDMUND

EDMUND enters.

EDMUND

The enemy’s in view. Draw up your powers.

(gives ALBANY a document)

Here is the guess of their true strength and forces

By diligent discovery, but your haste

Is now urged on you.

EDMUND

The enemy’s in sight. Prepare your troops. (gives ALBANY a document) The reconnaissance operation has returned this estimate of the enemy’s manpower and weaponry. But now, please hurry.

ALBANY

We will greet the time.

ALBANY

We’ll be ready when the time comes.

Exit ALBANY

He exits.

EDMUND

To both these sisters have I sworn my love,

Each jealous of the other as the stung

Are of the adder. Which of them shall I take?

Both? One? Or neither? Neither can be enjoyed

If both remain alive. To take the widow

Exasperates, makes mad her sister Goneril,

And hardly shall I carry out my side,

Her husband being alive. Now, then, we’ll use

His countenance for the battle, which being done,

Let her who would be rid of him devise

His speedy taking off. As for the mercy

Which he intends to Lear and to Cordelia,

The battle done and they within our power,

Shall never see his pardon, for my state

Stands on me to defend, not to debate.

EDMUND

I’ve sworn my love to both of these sisters. They’re jealous of each other like poisonous snakes. Which one of them should I pick? Both? One? Neither? I can’t enjoy either of them as long as the other one’s alive. Goneril would go crazy if I chose Regan, but it would be hard to get in with Goneril while her husband’s still alive. I’ll use Albany’s power and authority for now to win the war, but afterward one of the sisters—whichever one wants to—can get rid of him. Albany wants to spare Lear and Cordelia, but once they are my prisoners after the battle, they won’t stay alive long enough to see his pardon. I have to defend my position with actions, not words.

Exit

He exits.

Act 5, Scene 2

Alarum within Enter with drum and colors the powers of France over the stage, and CORDELIA with her father LEAR in her hand And exeunt

Sounds of battle offstage. CORDELIA enters hand in hand with LEAR, accompanied by drums, banners, and French troops. They cross the stage and exit.

Enter EDGAR disguised and GLOUCESTER

EDGAR enters, disguised, along with GLOUCESTER.

EDGAR

Here, father, take the shadow of this tree

For your good host. Pray that the right may thrive.

If ever I return to you again,

I’ll bring you comfort.

EDGAR

Here, father, rest awhile in the shade of this tree. Say a little prayer for our side in battle. If I ever come back, I’ll bring you good news.

GLOUCESTER

Grace go with you, sir.

GLOUCESTER

Good luck, sir.

Exit EDGAR

EDGAR exits.

Alarum and retreat within

Sounds of battle offstage. They grow fainter.

Enter EDGAR

EDGAR returns.

EDGAR

Away, old man. Give me thy hand. Away!

King Lear hath lost, he and his daughter ta’en.

Give me thy hand. Come on.

EDGAR

We have to get out of here, old man. Let me help you up. Let’s go! King Lear’s been defeated. He and his daughter are captured. Give me your hand. Come on.

GLOUCESTER

No further, sir. A man may rot even here.

GLOUCESTER

I can’t go any further, sir. This is as good a place as any to die.

EDGAR

What, in ill thoughts again? Men must endure

Their going hence even as their coming hither.

Ripeness is all. Come on.

EDGAR

Are you depressed again? You can’t choose your time of death any more than your time of birth. We live and die when our time comes. Come on.

GLOUCESTER

And that’s true too.

GLOUCESTER

And that’s true too.

Exeunt

They exit.

Act 5, Scene 3

Enter in conquest with drum and colors EDMUND, with LEAR and CORDELIA as prisoners, and FIRST CAPTAIN with soldiers

EDMUND enters, victorious, with drums and banners. LEAR and CORDELIA enter as prisoners, led by the FIRST CAPTAIN and soldiers.

EDMUND

Some officers take them away. Good guard

Until their greater pleasures first be known

That are to censure them.

EDMUND

Officers, take them away. Guard them carefully until we decide how to punish them.

CORDELIA

(to LEAR)

We are not the first

Who with best meaning have incurred the worst.

For thee, oppressèd King, I am cast down.

Myself could else outfrown false fortune’s frown.

Shall we not see these daughters and these sisters?

CORDELIA

(to LEAR) At least we’re not the first ones in our position. The road to hell is paved with good intentions. But I’m worried about you, my poor King. If it were only me, I would just wait out my bad luck. Should we meet with my sisters?

LEAR

No, no, no, no! Come, let’s away to prison.

We two alone will sing like birds i’ th’ cage.

When thou dost ask me blessing, I’ll kneel down

And ask of thee forgiveness. So we’ll live,

And pray, and sing, and tell old tales, and laugh

At gilded butterflies, and hear poor rogues

Talk of court news, and we’ll talk with them too—

Who loses and who wins, who’s in, who’s out—

And take upon ’s the mystery of things

As if we were God’s spies. And we’ll wear out

In a walled prison packs and sects of great ones

That ebb and flow by the moon.

LEAR

No, no, no, no! Come on, let’s go to prison. The two of us together will sing like birds in a cage. We will be good to each other. When you ask for my blessing, I’ll get down on my knees and ask you to forgive me. That’s how we’ll live—we’ll pray, we’ll sing, we’ll tell old stories, we’ll laugh at pretentious courtiers, we’ll listen to nasty court gossip, we’ll find out who’s losing and who’s winning, who’s in and who’s out. We’ll think about the mysteries of the universe as if we were God’s spies. In prison we’ll outlast hordes of rulers that will come and go as their fortunes change.

EDMUND

Take them away.

EDMUND

Take them away.

LEAR

Upon such sacrifices, my Cordelia,

The gods themselves throw incense. Have I caught thee?

He that parts us shall bring a brand from heaven

And fire us hence like foxes. Wipe thine eyes.

The good years shall devour them, flesh and fell,

Ere they shall make us weep. We’ll see ’em starve first.

Come.

LEAR

My Cordelia, even the gods admire how much you’ve sacrificed for me. Have I hugged you yet? Anyone who wants to separate us will have to smoke us out of the cave of our togetherness like foxes. Wipe your eyes. Our jailers will shrivel up with old age before they make us cry again. We’ll watch them starve to death first. Come on.

Exeunt LEAR and CORDELIA, led by soldiers

LEAR and CORDELIA exit, led by soldiers.

EDMUND

Come hither, captain. Hark.

(gives FIRST CAPTAIN a document)

Take thou this note. Go follow them to prison.

One step I have advanced thee. If thou dost

As this instructs thee, thou dost make thy way

To noble fortunes. Know thou this: that men

Are as the time is. To be tender-minded

Does not become a sword. Thy great employment

Will not bear question. Either say thou’lt do ’t,

Or thrive by other means.

EDMUND

Come here, captain. Listen. (gives the FIRST CAPTAIN a sheet of paper) Take this note. Follow those two to prison and follow these instructions. I’ve already promoted you once. If you do as you’re told, you’ll be richly rewarded. Just remember this: you have to go with the times, and these are the times for being tough. A soldier can’t afford to be a ninny. There’ll be no quibbling about this assignment. Either you accept it, or go find some other way to support yourself.

FIRST CAPTAIN

I’ll do ’t, my lord.

FIRST CAPTAIN

I’ll do it, sir.

EDMUND

About it, and write “happy” when thou’st done.

Mark, I say, instantly, and carry it so

As I have set it down.

EDMUND

Then off you go. When you’ve finished, you’ll be a happy man. Go immediately, and do exactly as I wrote down.

FIRST CAPTAIN

I cannot draw a cart, nor eat dried oats.

If it be man’s work, I’ll do ’t.

FIRST CAPTAIN

Jobs are hard to come by. I can’t pull a cart or eat dried oats like a horse. If it’s work for a man, I’ll do it.

Exit FIRST CAPTAIN

The FIRST CAPTAIN exits.

Flourish Enter the Duke of ALBANY, the two ladies GONERIL and REGAN, a SECOND CAPTAIN, and soldiers

Trumpets play. ALBANY enters with GONERIL and REGAN, a SECOND CAPTAIN, and more soldiers.

ALBANY

(to EDMUND) Sir, you have shown today your valiant strain,

And fortune led you well. You have the captives

That were the opposites of this day’s strife.

I do require them of you, so to use them

As we shall find their merits and our safety

May equally determine.

ALBANY

(to EDMUND) Sir, you’ve shown your true courage today, and luck was on your side. You’ve taken prisoner the leaders of the opposition. I need to take cus- tody of them so I can do what’s best out of concern for their honor and the safety of the kingdom.

EDMUND

Sir, I thought it fit

To send the old and miserable king

To some retention and appointed guard—

Whose age has charms in it, whose title more—

To pluck the common bosom on his side,

An turn our impressed lances in our eyes

Which do command them. With him I sent the queen,

My reason all the same, and they are ready

Tomorrow or at further space t’ appear

Where you shall hold your session. At this time

We sweat and bleed. The friend hath lost his friend,

And the best quarrels, in the heat, are cursed

By those that feel their sharpness.

The question of Cordelia and her father

Requires a fitter place.

EDMUND

Sir, I decided it was appropriate to send the pathetic old king to a guarded prison cell. His old age and his title make him so popular among the commoners that I was worried our enlisted soldiers would turn against us on his behalf. I sent the French queen with him too, for the same reason. They’re ready to meet with you tomorrow, or whenever you like, wherever you’d like to hold your hearing. These are difficult times. Many have lost friends in battle, and soldiers will curse even a justified war if it causes them pain. We need a more appropriate place to discuss Cordelia and her father.

ALBANY

I hold you but a subject of this war,

Not as a brother.

ALBANY

I’m sorry, sir, but in this war I consider you a subordinate, not my equal.

REGAN

That’s as we list to grace him.

Methinks our pleasure might have been demanded

Ere you had spoke so far. He led our powers,

Bore the commission of my place and person—

The which immediacy may well stand up

And call itself your brother.

REGAN

That’s for to me to decide. You might have asked my opinion before saying something so rude. Edmund has led our forces well, and implemented my wishes—and his close connection with me gives him the right to be considered your equal.

GONERIL

Not so hot.

In his own grace he doth exalt himself

More than in your addition.

GONERIL

Not so fast. He has distinguished himself as a great soldier in his own right, deserving more than any honor your can bestow on him.

REGAN

In my rights,

By me invested, he compeers the best.

REGAN

I’m the one who gave him his military commission, and it is as my proxy that he fought bravely.

ALBANY

That were the most if he should

husband you.

ALBANY

He’d really be your proxy if he married you.

REGAN

Jesters do oft prove prophets.

REGAN

Don’t joke, it might come true.

GONERIL

Holla, holla!

That eye that told you so looked but asquint.

GONERIL

Whoa, whoa! You’re so infatuated with him that you’re hallucinating.

REGAN

Lady, I am not well, else I should answer

From a full-flowing stomach.

(to EDMUND) General,

Take thou my soldiers, prisoners, patrimony.

Dispose of them, of me. The walls is thine.

Witness the world that I create thee here

My lord and master.

REGAN

Hey, lady, if I weren’t feeling a little sick, I’d give you a piece of my mind. (to EDMUND) General, take my soldiers, my prisoners, my whole inheritance, and do as you like with them. I surrender myself to your good judgment. Let the whole world see that I hereby make you my lord and master.

GONERIL

Mean you to enjoy him then?

GONERIL

Are you trying to sleep with him?

ALBANY

The let-alone lies not in your good will.

ALBANY

(to GONERIL) It’s not up to you to say “Yes” or “No.”

EDMUND

Nor in thine, lord.

EDMUND

Nor is it up to you, my lord.

ALBANY

Half-blooded fellow, yes.

ALBANY

Yes it is, you half-blood.

REGAN

(to EDMUND) Let the drum strike and prove my title thine.

REGAN

(to EDMUND) Let the drums beat. Prove your right to me by defeating any challenger.

ALBANY

Stay yet. Hear reason.—Edmund, I arrest thee

On capital treason, and in thine attaint

This gilded serpent.(indicates GONERIL)

(to REGAN) For your claim, fair sister,

I bar it in the interest of my wife.

’Tis she is subcontracted to this lord.

And I, her husband, contradict your banns.

If you will marry, make your loves to me,

My lady is bespoke.

ALBANY

Hang on a second. Listen to me.—Edmund, you’re under arrest for capital treason. Along with you, your co-conspirator, this snake of a woman. (points at GONERIL. Then, speaking to REGAN) My dear sister-in-law, I veto your marriage announcement for the benefit of my wife, who is already engaged to Edmund. So if you want to get married, you’ll have to woo me. My wife’s already spoken for.

GONERIL

An interlude!

GONERIL

What a farce!

ALBANY

Thou art armed, Gloucester. Let the trumpet sound.

If none appear to prove upon thy person

Thy heinous, manifest, and many treasons,

There is my pledge. (throws down his glove)

I’ll make it on thy heart,

Ere I taste bread, thou art in nothing less

Than I have here proclaimed thee.

ALBANY

You’ve got a sword, Gloucester. Blow the trumpets. If nobody else comes to challenge you and prove what an abominable traitor you have been, I’ll have to challenge you myself. (he throws down his glove) I’ll prove soon enough that you’re just as wicked as I say you are.

REGAN

Sick, oh, sick!

REGAN

Oh, I’m sick, sick!

GONERIL

(aside) If not, I’ll ne’er trust medicine.

GONERIL

(to herself) If she’s not ill, I’ll never trust drugs again.

EDMUND

(throwing down his glove)

There’s my exchange. What in the world he is

That names me traitor, villainlike he lies.

Call by thy trumpet. He that dares approach,

On him—on you, who not?—I will maintain

My truth and honor firmly.

EDMUND

(throwing down his glove) You’re on. Whoever calls me a traitor is a vicious liar. Blow the trumpet. Anyone who dares to step forward and make that accusation—you or anyone else—go ahead. I’ll uphold my truth and my honor.

ALBANY

A herald, ho!

ALBANY

A herald! Call a herald!

EDMUND

A herald, ho, a herald!

EDMUND

A herald, a herald!

Enter a HERALD

A HERALD enters.

ALBANY

(to EDMUND) Trust to thy single virtue, for thy soldiers,

All levied in my name, have in my name

Took their discharge.

ALBANY

(to EDMUND) You’re on your own now. The soldiers were all drafted in my name, and now they are discharged in my name.

REGAN

My sickness grows upon me.

REGAN

I feel sicker and sicker.

ALBANY

She is not well. Convey her to my tent.

ALBANY

She’s not feeling well. Take her to my tent.

Exit REGAN, led

REGAN is helped to exit.

Come hither, herald.—Let the trumpet sound,—

And read out this. (gives the HERALD a document)

Come here, herald.—Let the trumpet sound!—Read this out. (he hands the HERALD a document)

SECOND CAPTAIN

Sound, trumpet!

SECOND CAPTAIN

Blow the trumpet!

A trumpet sounds

A trumpet sounds.

HERALD

(reads)

“If any man of quality or degree within the lists of the army will maintain upon Edmund, supposed Earl of Gloucester, that he is a manifold traitor, let him appear by the third sound of the trumpet. He is bold in his defense.”

HERALD

(reads)

“If any noble man in the army asserts that Edmund, so-called Earl of Gloucester, is a traitor many times over, let him step forward by the third trumpet blast.”

EDMUND

Sound!

EDMUND

Sound!

First trumpet

First trumpet sounds.

HERALD

Again!

HERALD

Again!

Second trumpet

Second trumpet sounds.

HERALD

Again!

HERALD

Again!

Third trumpet Trumpet answers within Enter EDGAR, at the third sound, armed, a trumpet before him

Third trumpet sounds. Another trumpet answers inside. EDGAR enters, wearing armor.

ALBANY

(to HERALD) Ask him his purposes, why he appears

Upon this call o’ th’ trumpet.

ALBANY

(to HERALD) Ask him why he’s stepping forward.

HERALD

What are you?

Your name, your quality, and why you answer

This present summons?

HERALD

Who are you? What’s your name and rank, and why are you stepping forward?

EDGAR

O, know, my name is lost.

By treason’s tooth bare-gnawn and canker-bit.

Yet am I noble as the adversary

I come to cope withal.

EDGAR

I’ve lost my name and title to a traitor. But I’m as noble as my opponent.

ALBANY

Which is that adversary?

ALBANY

And who is that?

EDGAR

What’s he that speaks for Edmund, Earl of Gloucester?

EDGAR

Who’s the spokesman for Edmund, Earl of Gloucester?

EDMUND

Himself. What sayst thou to him?

EDMUND

I’m my own spokesman. What do you have to say to me?

EDGAR

Draw thy sword,

That if my speech offend a noble heart

Thy arm may do thee justice. (draws his sword) Here is mine.

Behold: it is the privilege of mine honors,

My oath, and my profession. I protest—

Maugre thy strength, youth, place, and eminence,

Despite thy victor sword and fire-new fortune,

Thy valor and thy heart—thou art a traitor,

False to thy gods, thy brother, and thy father,

Conspirant ’gainst this high illustrious prince,

And from th’ extremest upward of thy head

To the descent and dust below thy foot

A most toad-spotted traitor. Say thou “No,”

This sword, this arm, and my best spirits are bent

To prove upon thy heart, whereto I speak,

Thou liest.

EDGAR

Draw your sword. If I offend you by what I say, you can use your sword to take revenge. Here’s mine. (he draws his sword) Look at it. It’s the symbol of my honor, my rank, and my status as a knight. In spite of your youth, rank, strength, and excellence at warfare, in spite of your courage, your recent victory, and your good luck, I declare that you’re a traitor. You’ve betrayed your gods, your brother, and your father. You’ve plotted against this noble duke. You’re a rotten traitor, through and through, from the top of your head to the soles of your feet. If you disagree with me, I’m ready to use this sword and my courage to prove that you’re a liar.

EDMUND

In wisdom I should ask thy name.

But since thy outside looks so fair and warlike,

And that thy tongue some say of breeding breathes,

What safe and nicely I might well delay

By rule of knighthood, I disdain and spurn.

Back do I toss these treasons to thy head,

With the hell-hated lie o’erwhelm thy heart—

Which, for they yet glance by and scarcely bruise,

This sword of mine shall give them instant way,

Where they shall rest for ever.—Trumpets, speak!

EDMUND

Normally I would ask you what your name is first. But since you look so fine and noble, and since you’re so well mannered in your speech, I’m prepared to overlook the rules of knighthood, which say I should refuse to fight a man I don’t know. I throw your accusations back in your face. Your lies can hardly hurt me, but I’ll still fight you and embed your lies back in your hellish heart.—Trumpets, blow!

Alarums EDMUND and EDGAR fight EDMUND falls

Trumpets play. EDMUND and EDGAR fight. EDMUND falls.

ALBANY

Save him, save him!

ALBANY

(to EDGAR) Save him, save him!

GONERIL

This is practice, Gloucester.

By th’ law of arms thou wast not bound to answer

An unknown opposite. Thou art not vanquished,

But cozened and beguiled.

GONERIL

You were tricked into fighting, Gloucester. According to the laws of war, you didn’t have to fight a stranger. You haven’t lost this fight; you’ve been tricked and deceived.

ALBANY

Shut your mouth, dame,

Or with this paper shall I stop it.—Hold, sir,

(gives the letter to EDMUND)

Thou worse than any name, read thine own evil.—

(to GONERIL) Nay, no tearing, lady. I perceive you know it.

ALBANY

Shut your mouth, woman, or I’ll shove this paper in it.—Stop, sir. (gives the letter to EDMUND) You despicable criminal, read your crime. (to GONERIL) Don’t try to tear it up, madam. I take it you know what this letter says.

GONERIL

Say, if I do? The laws are mine, not thine.

Who can arraign me for ’t?

GONERIL

And what if I do? I make the laws, not you. Who can prosecute me for it?

ALBANY

Most monstrous, oh!

(to EDMUND) Know’st thou this paper?

ALBANY

Oh, monstrous! (to EDMUND) Do you know what letter this is?

EDMUND

Ask me not what I know.

EDMUND

Don’t ask me what I know.

Exit GONERIL

GONERIL exits.

ALBANY

Go after her. She’s desperate. Govern her.

ALBANY

Follow her. She’s desperate. Make sure she doesn’t do anything stupid.

Exit a soldier

A soldier exits.

EDMUND

What you have charged me with, that have I done—

And more, much more. The time will bring it out.

’Tis past, and so am I.

(to EDGAR)

But what art thou

That hast this fortune on me? If thou’rt noble,

I do forgive thee.

EDMUND

I’ve done everything you accuse me of—and more, much more. You’ll find out everything in due time. It’s all over now, and so am I. (to EDGAR) But who are you, you who’ve managed to defeat me? If you’re a nobleman, I forgive you.

EDGAR

Let’s exchange charity.

I am no less in blood than thou art, Edmund.

If more, the more thou’st wronged me.

My name is Edgar, and thy father’s son.

The gods are just, and of our pleasant vices

Make instruments to plague us.

The dark and vicious place where thee he got

Cost him his eyes.

EDGAR

Let’s forgive each other. I’m no less noble than you are, Edmund. If I’m more noble than you, you’ve done me wrong. My name is Edgar, and I’m your father’s son. The gods are fair, and they use our little vices to punish us. The woman he committed adultery with, your mother, cost him his eyes.

EDMUND

Thou’st spoken right. ’Tis true.

The wheel is come full circle. I am here.

EDMUND

You’re right. That’s true. It’s all come full circle, and here I am.

ALBANY

Methought thy very gait did prophesy

A royal nobleness. I must embrace thee.

Let sorrow split my heart if ever I

Did hate thee or thy father.

ALBANY

I suspected that you were noble when I saw how you walked. Let me embrace you. I swear I never hated you or your father!

EDGAR

Worthy prince, I know ’t.

EDGAR

I know, prince.

ALBANY

Where have you hid yourself?

How have you known the miseries of your father?

ALBANY

Where have you been hiding? How did you know what happened to your poor father?

EDGAR

By nursing them, my lord. List a brief tale,

And when ’tis told, oh, that my heart would burst!

The bloody proclamation to escape,

That followed me so near—O our lives’ sweetness,

That we the pain of death would hourly die

Rather than die at once!—taught me to shift

Into a madman’s rags, t’ assume a semblance

That very dogs disdained. And in this habit

Met I my father with his bleeding rings,

Their precious stones new lost, became his guide,

Led him, begged for him, saved him from despair.

Never—O fault!—revealed myself unto him

Until some half-hour past, when I was armed.

Not sure, though hoping of this good success,

I asked his blessing, and from first to last

Told him my pilgrimage. But his flawed heart—

Alack, too weak the conflict to support—

’Twixt two extremes of passion, joy and grief,

Burst smilingly.

EDGAR

I knew because I helped nurse him through his suffering. Listen to my little story, and when it’s done, oh, my heart will break! To escape the decree condemning me to death, I disguised myself as a madman beggar and became a creature despised even by dogs.—Oh, how sweet our lives must be if we prefer to die gradually by debasing ourselves rather than dying all at once!—In that disguise I met up with my father with bloody sockets where his beautiful eyes used to be. I became his guide, I led him and begged for him, and kept him from suicide. I never—oh, what a mistake!—revealed myself to him until half an hour ago, when I was in my armor. With hope in my heart I asked him for his blessing, not sure that he’d give it to me. He did. I told him everything that had happened on my journey. But his frail heart, too weak to grapple with such a conflict between joy and sadness, gave out.

EDMUND

This speech of yours hath moved me,

And shall perchance do good. But speak you on.

You look as you had something more to say.

EDMUND

Your words have moved me, and maybe it’ll do some good. But go on. You look like you have something more to say.

ALBANY

If there be more, more woeful, hold it in.

For I am almost ready to dissolve,

Hearing of this.

ALBANY

If there’s anything more sorrowful left to add, keep it to yourself. I’m almost ready to break down hearing this much.

EDGAR

This would have seemed a period

To such as love not sorrow, but another

To amplify too much would make much more

And top extremity.

Whilst I was big in clamor came there in a man

Who, having seen me in my worst estate,

Shunned my abhorred society, but then, finding

Who ’twas that so endured, with his strong arms

He fastened on my neck, and bellowed out

As he’d burst heaven, threw him on my father,

Told the most piteous tale of Lear and him

That ever ear received—which in recounting

His grief grew puissant and the strings of life

Began to crack. Twice then the trumpets sounded,

And there I left him tranced.

EDGAR

This may have seemed like the pinnacle of sadness, but if I went on I could outdo it. While I was sobbing loudly, a man came in. He had seen me in my ragged clothes and shunned me, but when he found out who I was, he clasped my neck with his strong arms and cried to high heaven. He threw himself on my father and told the saddest story you’ve ever heard about Lear and him. As he was telling that story he grieved more and more, until his heart started to break. Then I heard the trumpets blow twice, and left him there in a trance.

ALBANY

But who was this?

ALBANY

But who was that man?

EDGAR

Kent, sir, the banished Kent, who in disguise

Followed his enemy king and did him service

Improper for a slave.

EDGAR

It was Kent, sir, the exiled Kent, who, after the king treated him like an enemy of the state, put on a disguise and followed his king, carrying out tasks unworthy of even a slave.

Enter SECOND KNIGHT with a bloody knife

The SECOND KNIGHT enters with a bloody knife.

SECOND KNIGHT

Help, help, O, help!

SECOND KNIGHT

Help, help, oh, help!

EDGAR

What kind of help?

EDGAR

What kind of help do you need?

ALBANY

Speak, man.

ALBANY

Say something, man!

EDGAR

What means that bloody knife?

EDGAR

What is that bloody knife?

SECOND KNIGHT

’Tis hot, it smokes.

It came even from the heart of—oh, she’s dead!

SECOND KNIGHT

It’s still warm from the cut. It was just removed from from the heart of—oh, she’s dead!

ALBANY

Who dead? Speak, man.

ALBANY

Who’s dead? Speak, man.

SECOND KNIGHT

Your lady, sir, your lady. And her sister

By her is poisoned. She confesses it.

SECOND KNIGHT

Your wife, sir, your wife. And her sister’s dead too, poisoned by your wife. She confessed.

EDMUND

I was contracted to them both. All three

Now marry in an instant.

EDMUND

I was engaged to both of them. All three of us will marry now in death.

EDGAR

Here comes Kent.

EDGAR

Here comes Kent.

ALBANY

Produce their bodies, be they alive or dead.

This judgment of the heavens that makes us tremble

Touches us not with pity.

ALBANY

(to SECOND KNIGHT) Bring the bodies here, whether they’re alive or dead. We tremble at the gods’ wrath, but we don’t mourn these deaths.

Exit SECOND KNIGHT

The SECOND KNIGHT exits.

Enter KENT

KENT enters.

Oh, is this he?

The time will not allow the compliment

Which very manners urges.

Oh, is that Kent? There’s no time for polite greetings.

KENT

I am come

To bid my king and master aye good night.

Is he not here?

KENT

I’ve come to say farewell to my king and master. Isn’t he here?

ALBANY

Great thing of us forgot!—

Speak, Edmund, where’s the king? And where’s Cordelia?—

ALBANY

What an enormous thing for us to forget!—Edmund, tell us, where’s the king? And where’s Cordelia?—

REGAN’s and GONERIL’s corpses are brought out

GONERIL’s and REGAN’s bodies are brought out.

Seest thou this object, Kent?

Do you see this, Kent?

Kent

Alack, why thus?

Kent

Oh, why is this so?

EDMUND

Yet Edmund was beloved.

The one the other poisoned for my sake,

And after slew herself.

EDMUND

Still, Edmund was beloved. One of the sisters poisoned the other out of love for me, and then killed herself.

ALBANY

Even so.—Cover their faces.

ALBANY

Apparently so.—Cover their faces.

EDMUND

I pant for life. Some good I mean to do

Despite of mine own nature. Quickly send—

Be brief in it—to th’ castle, for my writ

Is on the life of Lear and on Cordelia.

Nay, send in time!

EDMUND

I wish I could live longer. I want to do a little good despite my evil nature. Go quickly—hurry—to the castle, for I’ve given orders to have Lear and Cordelia killed. Hurry, send someone immediately!

ALBANY

Run, run, O, run!

ALBANY

Run, run, oh, run!

EDGAR

To who, my lord?—Who hath the office? Send

Thy token of reprieve.

EDGAR

Whom should we look for in the castle?—Whose job is it? Send something along to prove you’re withdrawing the orders.

Edmund

Well thought on. Take my sword. The captain—

Give it the captain.

Edmund

Good idea. Take my sword. The captain—give it to the captain.

ALBANY

Haste thee for thy life.

ALBANY

Run as if your life depended on it.

Exit a soldier

A soldier exits.

Edmund

He hath commission from thy wife and me

To hang Cordelia in the prison and

To lay the blame upon her own despair,

That she fordid herself.

Edmund

My wife and I ordered him to hang Cordelia in prison and then to make it look as if she committed suicide in despair.

ALBANY

The gods defend her!—hear him hence awhile.

ALBANY

Heaven help her!—Get him out of here for now.

Exit soldiers with EDMUND

Soldiers exit with EDMUND.

Enter LEAR with CORDELIA in his arms, a THIRD KNIGHT following

LEAR enters with CORDELIA in his arms, followed by the THIRD KNIGHT.

LEAR

Howl, howl, howl, howl! Oh, you are men of stones.

Had I your tongues and eyes, I’d use them so

That heaven’s vault should crack. She’s gone forever.

I know when one is dead and when one lives.

She’s dead as earth. Lend me a looking-glass.

If that her breath will mist or stain the stone,

Why then, she lives.

LEAR

Howl, howl, howl, howl! Oh, you men are made of stone! If I were you with eyes and a tongue to speak with, I’d crack heaven wide open with my laments! She’s gone forever. I know how to tell when someone is alive or dead. She’s as dead as the cold ground. Let me borrow a mirror. If her breath steams up the glass, then she’s alive.

KENT

Is this the promised end?

KENT

Is this doomsday? The end of the world?

EDGAR

Or image of that horror?

EDGAR

Or just a foretaste of it?

ALBANY

Fall and cease.

ALBANY

Let the world collapse around us.

LEAR

This feather stirs. She lives. If it be so,

It is a chance which does redeem all sorrows

That ever I have felt.

LEAR

This feather moved because of her breath. She’s alive. If that’s true, it makes up for all the sorrows I’ve ever known.

KENT

O my good master!

KENT

Oh, my good master!

LEAR

Prithee, away.

LEAR

Please, go away.

EDGAR

’Tis noble Kent, your friend.

EDGAR

It’s noble Kent, your friend.

LEAR

A plague upon you, murderers, traitors all!

I might have saved her. Now she’s gone for ever.—

Cordelia, Cordelia, stay a little. Ha?

What is ’t thou say’st?—Her voice was ever soft,

Gentle and low, an excellent thing in woman.—

I killed the slave that was a-hanging thee.

LEAR

Curse you all, you’re all murderers and traitors! I could have saved her. Now she’s gone forever.—Cordelia, Cordelia, stay a while. Ha? What are you saying?—Her voice always was so soft and gentle. That’s a good thing in a woman.—I killed the scum who was hanging you.

THIRD KNIGHT

’Tis true, my lords, he did.

THIRD KNIGHT

It’s true, my lords, he did.

LEAR

Did I not, fellow?

I have seen the day with my good biting falchion

I would have made them skip. I am old now,

And these same crosses spoil me. (to KENT) Who are you?

Mine eyes are not o’ th’ best, I’ll tell you straight.

LEAR

Didn’t I? Back in the old days I would’ve made him dance with my sword. But I’m old now, and suffering has weakened me. (to KENT) Who are you? My eyesight’s not the best, I’ll tell you straight.

KENT

If Fortune brag of two she loved and hated,

One of them we behold.

KENT

We’re looking at the unluckiest man who ever lived.

LEAR

This a dull sight.

Are you not Kent?

LEAR

My vision is dull. Aren’t you Kent?

KENT

The same. Your servant Kent.

Where is your servant Caius?

KENT

That’s me. Your servant Kent. Where’s your servant Caius?

LEAR

He’s a good fellow, I can tell you that.

He’ll strike, and quickly too. He’s dead and rotten.

LEAR

He’s a good fellow, I can tell you that much. Not afraid to fight, he’s a feisty one. He’s dead and rotting in the dirt now.

KENT

No, my good lord. I am the very man—

KENT

No, my lord, that was me. I’m the one who—

LEAR

I’ll see that straight.

LEAR

I’ll get right on that.

KENT

That from your first of difference and decay

Have followed your sad steps.

KENT

—followed you on your sad wanderings, ever since your bad luck began.

LEAR

You’re welcome hither.

LEAR

Nice to see you.

KENT

Nor no man else. All’s cheerless, dark, and deadly.

Your eldest daughters have fordone themselves,

And desperately are dead.

KENT

It was me, no one else. Everything is gloomy, dark, and dreadful. Your eldest daughters destroyed themselves and died in despair.

LEAR

Ay, so I think.

LEAR

Yes, I think that’s true.

ALBANY

He knows not what he says, and vain it is

That we present us to him.

ALBANY

He doesn’t know what he’s saying. It’s useless to try to talk to him.

Enter THIRD MESSENGER

The THIRD MESSENGER enters.

EDGAR

Very bootless.

EDGAR

Yes, it’s pointless.

THIRD MESSENGER

Edmund is dead, my lord.

THIRD MESSENGER

Edmund is dead, my lord.

ALBANY

That’s but a trifle here.—

You lords and noble friends, know our intent.

What comfort to this great decay may come

Shall be applied. For us, we will resign

During the life of this old majesty

To him our absolute power.

(to EDGAR and KENT)

You, to your rights

With boot, and such addition as your honors

Have more than merited.—All friends shall taste

The wages of their virtue, and all foes

The cup of their deservings. O, see, see!

ALBANY

That doesn’t matter much with everything else that’s going on.—Gentlemen, I will announce my plans. I’ll do everything I can to ease the king’s suffering. As for me, I’m surrendering all my power over to him, giving him absolute authority for the rest of his life. (to EDGAR and KENT) You will get back your rightful property and titles, along with new honors that you have more than deserved.—My friends and allies will be rewarded for their support, and my enemies will get what they deserve. Look, look!

LEAR

And my poor fool is hanged.—No, no, no life?

Why should a dog, a horse, a rat have life,

And thou no breath at all? Oh, thou’lt come no more,

Never, never, never, never, never.—

Pray you, undo this button. Thank you, sir.

Do you see this? Look on her. Look, her lips.

Look there, look there. O, O, O, O.

(dies)

LEAR

And my poor fool was hanged.— No, no, no life left? Why should a dog or horse or rat have life, but not you? You’ll never come to me again, never, never, never, never, never.—Please help me undo this button. Thank you, sir. Do you see that? Look at her. Look, her lips. Look there, look there. Oh, oh, oh, oh. (he dies)

EDGAR

He faints!—My lord, my lord!

EDGAR

He’s fainted.—My lord, my lord!

KENT

Break, heart. I prithee, break!

KENT

My heart will break, break.

EDGAR

(to LEAR) Look up, my lord.

EDGAR

(to LEAR) Look at me, my lord.

KENT

Vex not his ghost. O, let him pass. He hates him

That would upon the rack of this tough world

Stretch him out longer.

KENT

Don’t disturb his soul. Let it go up to heaven. His soul would be angry at anyone who tried to keep him in the torture chamber of this life any longer.

EDGAR

Oh, he is gone indeed.

EDGAR

Oh, he’s really gone.

KENT

The wonder is he hath endured so long.

He but usurped his life.

KENT

What’s amazing is how long he lasted. He was living on borrowed time at the end.

ALBANY

Bear them from hence. Our present business

Is to general woe.

(to KENT and EDGAR) Friends of my soul, you twain

Rule in this realm, and the gored state sustain.

ALBANY

Carry them away. Our business now is mourning and grief. (to KENT and EDGAR) My friends and soulmates, you two will reign over this kingdom and keep the wounded country alive.

KENT

I have a journey, sir, shortly to go.

My master calls me. I must not say no.

KENT

I will have to go on a journey to death soon, sir. My master’s calling me. I can’t say no.

EDGAR

The weight of this sad time we must obey.

Speak what we feel, not what we ought to say.

The oldest hath borne most. We that are young

Shall never see so much, nor live so long.

EDGAR

We must remember the gravity of this sad day. We should speak what we feel, not what we ought to say. The oldest one suffered the most. We young ones will never see as much as he has seen, or live as long.

Exeunt with a dead march

They exit in a funeral march.