The Complete Works of Leo Tolstoy (25+ Works with active table of contents) (548 page)

Hearing these words, the King loses his temper, and curses this favorite daughter with the most dreadful and strange maledictions, saying, for instance, that he will henceforth love his daughter as little as he loves the man who devours his own children.

"The barbarous Scythian, Or he that makes his generation messes To gorge his appetite, shall to my bosom Be as well neighbour'd, pitied, and relieved. As thou, my sometime daughter."

The courtier, Kent, defends Cordelia, and desiring to appease the King, rebukes him for his injustice, and says reasonable things about the evil of flattery. Lear, unmoved by Kent, banishes him under pain of death, and calling to him Cordelia's two suitors, the Duke of Burgundy and the King of France, proposes to them in turn to take Cordelia without dowry. The Duke of Burgundy frankly says that without dowry he will not take Cordelia, but the King of France takes her without dowry and leads her away. After this, the elder sisters, there and then entering into conversation, prepare to injure their father who had endowed them. Thus ends the first scene.

Not to mention the pompous, characterless language of King Lear, the same in which all Shakespeare's Kings speak, the reader, or spectator, can not conceive that a King, however old and stupid he may be, could believe the words of the vicious daughters, with whom he had passed his whole life, and not believe his favorite daughter, but curse and banish her; and therefore the spectator, or reader, can not share the feelings of the persons participating in this unnatural scene.

The second scene opens with Edmund, Gloucester's illegitimate son, soliloquizing on the injustice of men, who concede rights and respect to the legitimate son, but deprive the illegitimate son of them, and he determines to ruin Edgar, and to usurp his place. For this purpose, he forges a letter to himself as from Edgar, in which the latter expresses a desire to murder his father. Awaiting his father's approach, Edmund, as if against his will, shows him this letter, and the father immediately believes that his son Edgar, whom he tenderly loves, desires to kill him. The father goes away, Edgar enters and Edmund persuades him that his father for some reason desires to kill him. Edgar immediately believes this and flees from his parent.

The relations between Gloucester and his two sons, and the feelings of these characters are as unnatural as Lear's relation to his daughters, or even more so, and therefore it is still more difficult for the spectator to transport himself into the mental condition of Gloucester and his sons and sympathize with them, than it is to do so into that of Lear and his daughters.

In the fourth scene, the banished Kent, so disguised that Lear does not recognize him, presents himself to Lear, who is already staying with Goneril. Lear asks who he is, to which Kent answers, one doesn't know why, in a tone quite inappropriate to his position: "A very honest-hearted fellow and as poor as the King."--"If thou be as poor for a subject as he is for a King, thou art poor enough--How old art thou?" asks the King. "Not so young, Sir, to love a woman,
etc.
, nor so old to dote on her." To this the King says, "If I like thee no worse after dinner, I will not part from thee yet."

These speeches follow neither from Lear's position, nor his relation to Kent, but are put into the mouths of Lear and Kent, evidently because the author regards them as witty and amusing.

Goneril's steward appears, and behaves rudely to Lear, for which Kent knocks him down. The King, still not recognizing Kent, gives him money for this and takes him into his service. After this appears the fool, and thereupon begins a prolonged conversation between the fool and the King, utterly unsuited to the position and serving no purpose. Thus, for instance, the fool says, "Give me an egg and I'll give thee two crowns." The King asks, "What crowns shall they be?"--"Why," says the fool, "after I have cut the egg i' the middle, and eat up the meat, the two crowns of the egg. When thou clovest thy crown i' the middle, and gavest away both parts, thou borest thine ass on thy 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 whipp'd that first finds it so."

In this manner lengthy conversations go on calling forth in the spectator or reader that wearisome uneasiness which one experiences when listening to jokes which are not witty.

This conversation was interrupted by the approach of Goneril. She demands of her father that he should diminish his retinue; that he should be satisfied with fifty courtiers instead of a hundred. At this suggestion, Lear gets into a strange and unnatural rage, and asks:

"Doth any here know me? This is not Lear: Does Lear walk thus? speak thus? Where are his eyes? Either his notion weakens, his discernings Are lethargied. Ha! 'tis not so. Who is it that can tell me who I am?"

And so forth.

While this goes on the fool does not cease to interpolate his humorless jokes. Goneril's husband then enters and wishes to appease Lear, but Lear curses Goneril, invoking for her either sterility or the birth of such an infant-monster as would return laughter and contempt for her motherly cares, and would thus show her all the horror and pain caused by a child's ingratitude.

These words which express a genuine feeling, might have been touching had they stood alone. But they are lost among long and high-flown speeches, which Lear keeps incessantly uttering quite inappropriately. He either invokes "blasts and fogs" upon the head of his daughter, or desires his curse to "pierce every sense about her," or else appealing to his own eyes, says that should they weep, he will pluck them out and "cast them with the waters that they lose to temper clay." And so on.

After this, Lear sends Kent, whom he still fails to recognize, to his other daughter, and notwithstanding the despair he has just manifested, he talks with the fool, and elicits his jokes. The jokes continue to be mirthless and besides creating an unpleasant feeling, similar to shame, the usual effect of unsuccessful witticisms, they are also so drawn out as to be positively dull. Thus the fool asks the King whether he can tell why one's nose stands in the middle of one's face? Lear says he can not.--

"Why, to keep one's eyes of either side 's nose, that what a man can not smell out, he may spy out."

"Canst tell how an oyster makes his shell?"

"No."

"Nor I either; but I can tell why a snail has a house."

"Why?"

"Why, to put his head in; not to give it away to his daughters and leave his horns without a case."

"----Be my horses ready?"

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

"Because they are not eight?"

"Yes, indeed: thou would'st make a good fool."

And so on.

After this lengthy scene, a gentleman enters and announces that the horses are ready. The fool says:

"She that's a maid now, and laughs at my departure, Shall not be a maid long, unless things be cut shorter."

The second part of the first scene of the second act begins by the villain Edmund persuading his brother, when their father enters, to pretend that they are fighting with their swords. Edgar consents, altho it is utterly incomprehensible why he should do so. The father finds them fighting. Edgar flies and Edmund scratches his arm to draw blood and persuades his father that Edgar was working charms for the purpose of killing his father and had desired Edmund to help him, but that he, Edmund, had refused and that then Edgar flew at him and wounded his arm. Gloucester believes everything, curses Edgar and transfers all the rights of the elder and legitimate son to the illegitimate Edmund. The Duke, hearing of this, also rewards Edmund.

In the second scene, in front of Gloucester's palace, Lear's new servant, Kent, still unrecognized by Lear, without any reason, begins to abuse Oswald, Goneril's steward, calling him,--"A knave, a rascal, an eater of broken meats; a base, proud, shallow, beggarly, three-suited, hundred-pound, filthy, worsted-stocking knave;--the son and heir of a mongrel bitch." And so on. Then drawing his sword, he demands that Oswald should fight with him, saying that he will make a "sop o' the moonshine" of him,--words which no commentators can explain. When he is stopped, he continues to give vent to the strangest abuse, saying that a tailor made Oswald, as "a stone-cutter or a painter could not have made him so ill, tho they had been but two hours o' the trade!" He further says that, if only leave be given him, he will "tread this unbolted villain into mortar and daub the wall of a jakes with him."

Thus Kent, whom nobody recognizes, altho both the King and the Duke of Cornwall, as well as Gloucester who is present, ought to know him well, continues to brawl, in the character of Lear's new servant, until he is taken and put in the stocks.

The third scene takes place on a heath. Edgar, flying from the persecutions of his father, hides in a wood and tells the public what kind of lunatics exist there--beggars who go about naked, thrust wooden pricks and pins into their flesh, scream with wild voices and enforce charity, and says that he wishes to simulate such a lunatic in order to save himself from persecution. Having communicated this to the public, he retires.

The fourth scene is again before Gloucester's castle. Enter Lear and the fool. Lear sees Kent in the stocks, and, still not recognizing him, is inflamed with rage against those who dared so to insult his messenger, and calls for the Duke and Regan. The fool goes on with his jokes.

Lear with difficulty restrains his ire. Enter the Duke and Regan. Lear complains of Goneril but Regan justifies her sister. Lear curses Goneril, and, when Regan tells him he had better return to her sister, he is indignant and says: "Ask her forgiveness?" and falls down on his knees demonstrating how indecent it would be if he were abjectly to beg food and clothing as charity from his own daughter, and he curses Goneril with the strangest curses and asks who put his servant in the stocks. Before Regan can answer, Goneril arrives. Lear becomes yet more exasperated and again curses Goneril, but when he is told that it was the Duke himself who ordered the stocks, he does not say anything, because, at this moment, Regan tells him that she can not receive him now and that he had best return to Goneril, and that in a month's time she herself will receive him, with, however, not a hundred but fifty servants. Lear again curses Goneril and does not want to go to her, continuing to hope that Regan will accept him with the whole hundred servants. But Regan says she will receive him only with twenty-five and then Lear makes up his mind to go back to Goneril who admits fifty. But when Goneril says that even twenty-five are too many, Lear pours forth a long argument about the superfluous and the needful being relative and says that if man is not allowed more than he needs, he is not to be distinguished from a beast. Lear, or rather the actor who plays Lear's part, adds that there is no need for a lady's finery, which does not keep her warm. After this he flies into a mad fury and says that to take vengeance on his daughters he will do something dreadful but that he will not weep, and so he departs. A storm begins.

Such is the second act, full of unnatural events, and yet more unnatural speeches, not flowing from the position of the characters,--and finishing with a scene between Lear and his daughters which might have been powerful if it had not been permeated with the most absurdly foolish, unnatural speeches--which, moreover, have no relation to the subject,--put into the mouth of Lear. Lear's vacillations between pride, anger, and the hope of his daughters' giving in, would be exceedingly touching if it were not spoilt by the verbose absurdities to which he gives vent, about being ready to divorce himself from Regan's dead mother, should Regan not be glad to receive him,--or about his calling down "fen suck'd frogs" which he invokes, upon the head of his daughter, or about the heavens being obliged to patronize old people because they themselves are old.

The third act begins with thunder, lightning, a storm of some special kind such as, according to the words of the characters in the piece, had never before taken place. On the heath, a gentleman tells Kent that Lear, banished by his daughters from their homes, is running about the heath alone, tearing his hair and throwing it to the wind, and that none but the fool is with him. In return Kent tells the gentleman that the dukes have quarrelled, and that the French army has landed at Dover, and, having communicated this intelligence, he dispatches the gentleman to Dover to meet Cordelia.

The second scene of the third act also takes place on the heath, but in another part of it. Lear walks about the heath and says words which are meant to express his despair: he desires that the winds should blow so hard that they should crack their cheeks and that the rain should flood everything, that lightning should singe his white head, and the thunder flatten the world and destroy all germens "that make ungrateful man!" The fool keeps uttering still more senseless words. Enter Kent. Lear says that for some reason during this storm all criminals shall be found out and convicted. Kent, still unrecognized by Lear, endeavors to persuade him to take refuge in a hovel. At this point the fool pronounces a prophecy in no wise related to the situation and they all depart.

The third scene is again transferred to Gloucester's castle. Gloucester tells Edmund that the French King has already landed with his troops, and intends to help Lear. Learning this, Edmund decides to accuse his father of treason in order that he may get his heritage.