2002 Paper 2 - Section 1

King Lear is Shakespeare's most elemental and powerful tragedy. The source of its dramatic power lies not only within the tale of the old stubborn King and his family but also in the expressive language used by Shakespeare and the emotionally charged incidents played out on stage before our eyes.

If tragedy requires empathy between protagonist and audience (as Aristotle suggests), then King Lear is a pure tragedy. The image of Man in all his pride and pomp, strutting around his kingdom (full of sound and fury) and then being slowly and painfully disrobed; to being 'a mere forked animal', a Poor Tom, a 'nothing', illustrates the isolated, elemental reality of what it is to be human ; an 'unaccommodated man', 'the thing itself'. This process of unfolding, of laying bare, of getting at the truth, is at the heart of the play and Shakespeare explores this idea through powerful textual imagery and on-stage 'snapshots' that remain in our imagination long after a performance is over.

The play begins in pomp and ceremony. Lear is at the centre of his world, surrounded by all his family and court. The image suggests order and control. The unfolding of the map in the opening Act attests to this structured universe. The splitting of the kingdom, which Shakespeare presents to us, is the beginning of a break-up of power and a breakdown of order. It is also the paring away of all 'superfluity' and 'unessentials'. Ironically, protection and security is to be found in this nakedness, this poverty. Edgar, as Poor Tom, finds safety and central truths about life. As he says, 'Who alone suffers, suffers most in the mind'. Edgar learns forgiveness and courage in adversity. Lear, likewise, in losing all, finds love and human intimacy. The visual and symbolic power of this image of man being laid bare is the essence of the tragedy.

Another powerful image that heightens the experience of the play is the horrific on-stage mutilation of Gloucester, as his eyes are gouged out by the barbaric Cornwall and Regan. ('Out vile jelly!' is a particularly vile and memorable image from the text!) Shakespeare forces us, the audience, to confront the reality of evil and its grotesque actions. Like Lear on the heath, we are being made experience the harsh realities of life. Such is the depravity of man when order breaks down and evil flourishes. This distasteful image is the culmination of a central theme in the play, that of seeing and not seeing. Blind to his responsibilities, Lear divides his kingdom. Blind to the pure love that Cordelia feels for him and blind to the hypocritical, loving expressions of Goneril and Regan, Lear must learn to see. The Fool tries to show him the way, as does the dutiful Kent. However, Lear must suffer 'on the rack of this tough world'. Eventually the angelic and graceful Cordelia leads him towards peace. This evocative image of the blind being led is repeated in 'mad' Poor Tom leading the newly blinded Gloucester (the son leading the father) to a salvation of sorts.

Possibly the most powerful and memorable image in the play is the old King, in rags on the moor, shouting at the heavens and the gods: 'Blow winds! Crack your cheeks, Rage! Blow! … Rumble thy bellyful …' Here is elemental suffering. The king, lashed by wind and rain, abused by his two daughters and stripped of all worldly goods is an image that resonates and strikes at the heart of the drama. This 'reality' mirrors the mental anguish within and which is played-out in the following sequence in the hovel where pomp and authority are put on trial in Lear's (and our) imagination.

Other strong images of animals, 'curs, dogs, mongrels, goats, serpents, etc.' pepper the text; likewise, sexual suggestions, Lear's 'Let copulation thrive' and Edmund's early speech, 'Now Gods, stand up for bastards!' All of these images explore the animal instincts of man that can overpower rational and decent society. Indeed one of the memorable images that stayed with me after a performance of King Lear was Kent in the stocks. The loyal Kent, as the King's representative, is bound and chained for public amusement and mockery. So much for justice and respect!

Finally, the image that remained with me after all the pain and suffering was through: Old Lear, on his knees, beside his beautiful daughter, thinking at the last moment as he 'faints', that there is still hope, still life: 'Look there, her lips … look there!'

Certainly, the powerful images of King Lear do heighten our experience of the play.