4.7.. Scene 7 Scena Septima 1 s.d. Enter ... Gentleman Enter Cordelia, Kent, and Gentleman [F] Enter Cordelia, Kent, and Doctor [Q] 24 doubt not doubt 24-25 Very ... there [F omits] 32 warring iarring 33-36 To ... helm [F omits] 79-80 and ... lost [F omits] 85 s.d. Exeunt ... Gentleman Exeunt 86-98 Holds... fought [F omits]
5.1. Act 5 Scene 1 Actus Quintus. Scena Prima 11-13 That ... hers [F omits] 16 Fear me not Feare not 18-19 I ... me [F omits] 23-28 Where ... nobly [F omits] 33 I ... tent [F omits] 36 pray you pray 39 s.d. To those going out [F and Q omit] To Edgar [F and Q omit] Exeunt placed by Cambridge edition] [Q prints after "word," 1. 39] [F omits] 46 love loues 50 s.d. Exit [placed by Dyce] [F and Q print after 1. 49]
5.2. Scene 2 Scena Secunda 5.3. Scene 3 Scena Tertia 13 hear poor rogues heere (poore Rogues) [reference in F is to Lear and Cordelia] 26 s.d. Exeunt... guarded Exit [F] [Q omits] 39-40 I... do't [F omits] 40 s.d. Exit Captain [F prints after 1.38] [Q omits] 48 and appointed guard [Q corrected, and Q2] [F and Q omit] 55-60 At ... place [F omits] 56 We [Q corrected, and Q2] mee [Q] 58 sharpness [Q corrected, and Q2] sharpes [Q] 84 attaint arrest 85 sister Sisters 98 he is hes 103 Edmund ... ho, a herald [F omits] 108 s.d. Enter a Herald [placed by Hanmer] [F prints after 1. 102] [Q omits] 110 Sound, trumpet [F omits] 110 s.d. A trumpet sounds [F prints after 1. 109] [Q omits] trumpet [F2] Tumpet 116 Sound [F omits] 116 s.d. First trumpet [F prints after 1. 115] [Q omits] 118 s.d. Enter ... him Enter Edgar armed [F] Enter Edgar at the third sound, a trumpet before him [Q] 137 illustrious illustirous 145 some say (some say) 152 s.d. fight Fights [F, which prints after 1. 153, "him"] [Q omits] 162 Ask... know [F gives to Edmund] 162 s.d. Exit [placed here by Q: "Exit Gonorill'] [F prints after 1. 161, "for't"] 206-23 This...slave [F omits] 215 him [Theobald] me [Q] [F omits] 223 s.d. Enter ... knife Enter a Gentleman [F] Enter one with a bloudie knife [Q] 234 s.d. Enter Kent [placed by Q2] [F prints after 1. 231, "Kent"] [Q prints after "allow" in 1. 235] 240 s.d. The... in Gonerill and Regans bodies brought out [F, which prints after 1. 232] 253 s.d. Exit Messenger [Theobald] [F and Q omit] 259 Howl. howl. howl. howl Howle, howle, howle you are your are 279 them him 291 You are [Q2] Your are [F] You [Q] 296 s.d. Enter a Messenger [F, which prints after "him"] Enter Captaine [Q, placed as here]
The Date and Sources of King Lear
King Lear was probably written between 1603 and 1606. The evidence is as follows. Under the date of November 26, 1607, the printers Nathaniel Butter and John Busby entered the play in the Stationers' Register, thereby asserting their right to print it. That right was exercised in the following year, with the appearance of the First Quarto of 1608. The title page of that quarto (Q1) announces a performance of the play as having taken place before the King on St. Stephen s Night (December 26) in the Christmas holidays. The entry in the Stationers' Register (1607), since it refers to the Court performance as occurring on "Christmas Last," fixes the date of that performance as December 26, 1606. This date is therefore the terminus ad quem for the composition of the play. The earliest date, that of 1603, is more difficult to establish. Probably it is fixed by the entry in the Stationers' Register, on March 16, 1603, of Samuel Harsnett's Declaration of Egregious Popishe Impostures. Harsnett's work, a treatise on dia-bolism and an attack on the Jesuits, was written in 1602-03. It is utilized by Shakespeare in his play, chiefly for the names of the demons who lurk about Poor Tom. Assume--and it is reasonable to do so--that Shakespeare did not have access to Harsnett's Declaration before the date of publication, and 1603 becomes the terminus a quo for the writing of King Lear.
Astrological reference furnishes another clue. Gloucester, citing as portentous "These late eclipses in the sun and moon" (1.2.112), is commonly thought to be speaking of a contemporary event. There were in fact eclipses in 1601 and, more pertinently, in September (the moon) and October (the sun) of 1605. It has been suggested, moreover, that a publication of 1606, telling of "The Earth's and Moone s late and horrible obscurations," lies directly behind Gloucester's superstitious mutterings. The pamphlet in question, translated from the High Dutch and edited by the almanac writer Edward Gresham, is entitled Strange fearful & true news which happened at Carlstadt, in the Kingdome of Croatia. Its preface is dated February 11, 1606.
Finally, there is the re-emergence, in the period just before the first recorded performance of Shakespeare's play, of the older dramatic version of his story, The True Chronicle History of King Leir. Though this play was probably written about 1590, and was on the boards in 1594, it was published and perhaps acted again in 1605: on May 8, 1605, it is entered in the Stationers' Register. Presumably Shakespeare used the edition appearing in that year, in writing his own play.
The publication, then, of the old chronicle history in 1605, the notable eclipses occurring in the fall of the same year, and the appearance of Gresham's pamphlet early in 1606 seem to pomt to the winter of 1605-06 as the period in which Shakespeare wrote King Lear.
The ultimate source of the play is an ancient folk tale existing in many versions. It first appears as literature in the twelfth-century Historia Regum Britanniae (ii, 11-15), by Geoffrey of Monmouth. Throughout the Middle Ages and on into the Renaissance, the Lear story retained its popularity, appearing in some fifty different accounts. Shakespeare was familiar with it from the retelling in what is perhaps his most important source book, the second edition (1587) of The Chronicles of England Scotlande, and Ire-lande by Raphael Holinshed, first compiled in 1577. From Edmund Spenser, in The Faerie Queene (1590), Shakespeare derived the name of Cordelia in its present form, and also the detail of her death by hanging (II.x.27-32). Other suggestions were furnished by John Higgins, in A Mirror for Magistrates (1574), that immensely popular collection of stories of the falls of princes; and of course, by The True Chronicle History of King Leir and his three daughters. John Marston, in The Malcontent (1604), dramatizes a feigned suicide (4.3) that seems to parallel Gloucester's, at the Cliffs of Dover (4.6). The author of The London Prodigal (1605), a play once attributed to Shakespeare and performed by his company, anticipates the rustic dialogue affected by Edgar in his combat with Oswald (4.6). As previously noted, Harsnett and, possibly, Gresham were also of use to Shakespeare. So, in less tangible ways, was his great French contemporary, Montaigne, whose Essais were translated into English by John Florio in 1603. Numerous words and passages in Florio's translation (which Shakespeare may have read in manuscript) are echoed in King Lear. More impressive, however, is the impact on Shakespeare of Montaigne's skeptical thought, as expressed particularly in the Apology for Raymond Sebonde.
None of these sources of Lear includes the analogous story of Gloucester and his two sons. That story Shakespeare adapted from Sir Philip Sidney's account of the unhappy King of Paphlagonia, in his famous romantic narrative Arcadia (ii, 10), written early in the 1580s but not published until 1590. The tying of the subplot to the old and sufficiently horrid tale of King Lear and his daughters has, of course, the effect of engrossing the horror, until the audience is almost persuaded that ferocious cruelty is not so much an aberration as the norm. Certainly, if Lear is childed as Edgar is fathered it is no longer possible to see as merely sensational or idiosyncratic the evil that Shakespeare anatomizes in the play. Earlier writers, handling one or the other story, allow of that view. Shakespeare, in fusing the two stories, is at pains to controvert it. What is more, he darkens consistently, in manipulating his sources, whatever dark suggestion is latent in them. In the old Leir, in Holinshed, in Spenser, in the Mirror for Magistrates, the travails of the King are intermitted at last. Vice is punished and virtue rewarded: Cordelia triumphs over her wicked sisters; her father, restored to the throne, dies at the apogee, and in peace. It is true that, in some sources, Cordelia ends a suicide. But that is an irrelevant epilogue: the chief business of the tale is happily resolved.
It is left to Shakespeare to cancel that happy resolution. He is the first to educe tragedy from what is essentially a melodramatic romance. The madness of Lear is altogether his own contribution. So is th
e pathetic figure of the Fool. So is the murder of Cordelia, that cruelest stroke of all, which is made to fall just as the good are preparing to taste the wages of their virtue. Some sense of Shakespeare's lack of ruth, of his invention, and not least, of his tact may be gathered from a perusal of the source material on which he worked.
RAPHAEL HOLINSHED
Selections from The Chronicles of England, Scotland, and Ireland
Leir the son of Baldud was admitted ruler over the Britains, in the year of the world 3105, at what time Joas reigned in Juda. This Leir was a prince of right noble demeanor, governing his land and subjects in great wealth. He made the town of Caerleir now called Leicester, which standeth upon the river of Sore. It is written that he had by his wife three daughters without other issue, whose names were Gonorilla, Regan, and Cordeilla, which daughters he greatly loved, but specially Cordeilla the youngest far above the two elder. When this Leir therefore was come to great years, & began to wax unwieldy through age, he thought to understand the affections of his daughters towards him, and prefer her whom he best loved, to the succession over the kingdom. Whereupon he first asked Gonorilla the eldest, how well she loved him: who calling her gods to record, protested that she loved him more than her own life, which by right and reason should be most dear unto her. With which answer the father, being well pleased, turned to the second, and demanded of her how well she loved him: who answered (confirming her sayings with great oaths) that she loved him more than tongue could express, and far above all other creatures of the world.
Then called he his youngest daughter Cordeilla before him, and asked of her what account she made of him, unto whom she made this answer as followeth: "Knowing the great love and fatherly zeal that you have always borne towards me (for the which I may not answer you otherwise than I think, and as my conscience leadeth me) I protest unto you, that I have loved you ever, and will continually (while I live) love you as my natural father. And if you would more understand of the love that I bear you, ascertain yourself, that so much as you have, so much you are worth, and so much I love you, and no more." The father being nothing content with this answer, married his two eldest daughters, the one unto Henninus, the duke of Cornwall, and the other unto Maglanus, the duke of Albania, betwixt whom he willed and ordained that his land should be divided after his death, and the one half thereof immediately should be assigned to them in hand: but for the third daughter Cordeilla he reserved nothing.
Nevertheless it fortuned that one of the princes of Gallia (which now is called France), whose name was Aganippus, hearing of the beauty, womanhood, and good conditions of the said Cordeilla, desired to have her in marriage, and sent over to her father, requiring that he might have her to wife; to whom answer was made, that he might have his daughter, but as for any dower he could have none, for all was promised and assured to her other sisters already. Aganippus notwithstanding this answer of denial to receive anything by way of dower with Cordeilla, took her to wife, only moved thereto (I say) for respect of her person and amiable virtues. This Aganippus was one of the twelve kings that ruled Gallia in those days, as in British history it is recorded. But to proceed.
After that Leir was fallen into age, the two dukes that had married his two eldest daughters, thinking it long ere the government of the land did come to their hands, arose against him in armor, and reft from him the governance of the land, upon conditions to be continued for term of life: by the which he was put to his portion, that is, to live after a rate assigned to him for the maintenance of his estate, which in process of time was diminished as well by Maglanus as by Henninus. But the greatest grief that Leir took was to see the unkindness of his daughters, which seemed to think that all was too much which their father had, the same being never so little: in so much that going from the one to the other, he was brought to that misery, that scarcely they would allow him one servant to wait upon him.
In the end, such was the unkindness, or (as I may say) the unnaturalness which he found in his two daughters, notwithstanding their fair and pleasant words uttered in time past, that being constrained of necessity, he fled the land, & sailed into Gallia, there to seek some comfort of his youngest daughter Cordeilla, whom beforetime he hated. The lady Cordeilla hearing that he was arrived in poor estate, she first sent to him privily a certain sum of money to apparel himself withal, and to retain a certain number of servants that might attend upon him in honorable wise, as appertained to the estate which he had borne: and then so accompanied, she appointed him to come to the court, which he did, and was so joyfully, honorably, and lovingly received, both by his son-in-law Aganippus, and also by his daughter Cordeilla, that his heart was greatly comforted: for he was no less honored, than if he had been king of the whole country himself.
Now when he had informed his son-in-law and his daughter in what sort he had been used by his other daughters, Aganippus caused a mighty army to be put in a readiness, and likewise a great navy of ships to be rigged, to pass over into Britain with Leir his father-in-law, to see him again restored to his kingdom. It was accorded, that Cordeilla should also go with him to take possession of the land, the which he promised to leave unto her, as the rightful inheritor after his decease, notwithstanding any former grant made to her sisters or to their husbands in any manner of wise.
Hereupon, when this army and navy of ships were ready, Leir and his daughter Cordeilla with her husband took the sea, and arriving in Britain, fought with their enemies, and discomfited them in battle, in the which Maglanus and Henninus were slain; and then was Leir restored to his kingdom, which he ruled after this by the space of two years, and then died, forty years after he first began to reign.
SIR PHILIP SIDNEY
From Arcadia
The pitiful state, and story of the Paphlagonian unkind King, and his kind son, first related by the son, then by the blind father.
It was in the kingdom of Galacia, the season being (as in the depth of winter) very cold, and as then suddenly grown to so extreme and foul a storm, that never any winter (I think) brought forth a fouler child: so that the Princes were even compelled by the hail, that the pride of the wind blew into their faces, to seek some shrouding place within a certain hollow rock offering it unto them, they made it their shield against the tempest's fury. And so staying there, till the violence thereof was passed, they heard the speech of a couple, who not perceiving them (being hid within that rude canopy) held a strange and pitiful disputation which made them step out; yet in such sort, as they might see unseen. There they perceived an aged man, and a young, scarcely come to the age of a man, both poorly arrayed, extremely weatherbeaten; the old man blind, the young man leading him: and yet through all those miseries, in both these seemed to appear a kind of nobleness, not suitable to that affliction. But the first words they heard were these of the old man. Well Leonatus (said he) since I cannot persuade thee to lead me to that which should end my grief, & thy trouble, let me now entreat thee to leave me: fear not, my misery cannot be greater than it is, & nothing doth become me but misery; fear not the danger of my blind steps. I cannot fall worse than I am. And do not, I pray thee, do not obstinately continue to infect thee with my wretchedness. But fly, fly from this region, only worthy of me. Dear father (answered he) do not take away from me the only remnant of my happiness: while I have power to do you service, I am not wholly miserable. Ah my son (said he, and with that he groaned, as if sorrow strove to break his heart), how evil fits it me to have such a son, and how much doth thy kindness upbraid my wickedness? These doleful speeches, and some others to like purpose (well showing they had not been borne to the fortune they were in), moved the Princes to go out unto them, and ask the younger what they were? Sirs (answered he, with a good grace, and made the more agreeable by a certain noble kind of piteousness) I see well you are strangers, that know not our misery so well here known, that no man dare know, but that we must be miserable. Indeed our state is such, as though nothing is so needful unto us as pity, yet nothing is more dangerous u
nto us, than to make ourselves so known as may stir pity. But your presence promiseth, that cruelty shall not overrun hate. And if it did, in truth our state is sunk below the degree of fear.
This old man (whom I lead) was lately rightful Prince of this country of Paphlagonia, by the hard-hearted ungratefulness of a son of his, deprived, not only of his kingdom (whereof no foreign forces were ever able to spoil him) but of his sight, the riches which Nature grants to the poorest creatures. Whereby, & by other his unnatural dealings, he hath been driven to such grief, as even now he would have had me to have led him to the top of this rock, thence to cast himself headlong to death: and so would have made me (who received my life of him) to be the worker of his destruction. But noble Gentlemen (said he) if either of you have a father, and feel what dutiful affection is engraffed in a son's heart, let me entreat you to convey this afflicted Prince to some place of rest & security. Amongst your worthy acts it shall be none of the least, that a King, of such might and fame, and so unjustly oppressed, is in any sort by you relieved.