King Lear

By William Shakespeare

In “King Lear”, a tragedy written by William Shakespeare, the titular king descends into madness after his flattering daughters inherit his kingdom and then betray him. The play, with its complex web of intrigue and deception is a masterpiece of suspenseful drama and boasts many iconic roles, including Lear, Goneril, and Regan, which are coveted by accomplished stage actors. First performed in 1606, it has been adapted many times, most recently in 2018 for the BBC, starring Anthony Hopkins and Emma Thompson.

• Language: English
• Publisher: Dreamscape Media
• Release date: Oct 9, 2018
• ISBN: 9781974931385

William Shakespeare

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

Book preview

THE TRAGEDY OF KING LEAR

By

WILLIAM SHAKESPEARE

This edition published by Dreamscape Media LLC, 2018

www.dreamscapeab.com * [e-mail]

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About William Shakespeare:

William Shakespeare (26 April 1564 – 23 April 1616) was an English poet, playwright and actor, widely regarded as both the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the Bard of Avon. His extant works, including collaborations, consist of approximately 39 plays, 154 sonnets, two long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright.

Shakespeare was born and raised in Stratford-upon-Avon, Warwickshire. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna and twins Hamnet and Judith. Sometime between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. At age 49 (around 1613), he appears to have retired to Stratford, where he died three years later. Few records of Shakespeare's private life survive; this has stimulated considerable speculation about such matters as his physical appearance, his sexuality, his religious beliefs, and whether the works attributed to him were written by others. Such theories are often criticised for failing to adequately note the fact that few records survive of most commoners of the period.

Shakespeare produced most of his known works between 1589 and 1613. His early plays were primarily comedies and histories and are regarded as some of the best work ever produced in these genres. Then, until about 1608, he wrote mainly tragedies, among them Hamlet, Othello, King Lear, and Macbeth, all considered to be among the finest works in the English language. In the last phase of his life, he wrote tragicomedies(also known as romances) and collaborated with other playwrights.

Many of his plays were published in editions of varying quality and accuracy in his lifetime. However, in 1623, two fellow actors and friends of Shakespeare's, John Heminges and Henry Condell, published a more definitive text known as the First Folio, a posthumous collected edition of Shakespeare's dramatic works that included all but two of the plays now recognised as his. The volume was prefaced with a poem by Ben Jonson, in which the poet presciently hails the playwright in a now-famous quote as not of an age, but for all time.

Throughout the 20th and 21st centuries, Shakespeare's works have been continually adapted and rediscovered by new movements in scholarship and performance. His plays remain highly popular and are constantly studied, performed, and reinterpreted in diverse cultural and political contexts the world over.

Source: Wikipedia

Table of Contents

Dramatis Personæ

ACT I

SCENE I. A Room of State in King Lear’s Palace.

SCENE II. A Hall in the Earl of Gloucester’s Castle.

SCENE III. A Room in the Duke of Albany’s Palace.

SCENE IV. A Hall in Albany’s Palace.

SCENE V. Court before the Duke of Albany’s Palace.

ACT II

SCENE I. A court within the Castle of the Earl of Gloucester.

SCENE II. Before Gloucester’s Castle.

SCENE III. The open Country.

SCENE IV. Before Gloucester’s Castle; Kent in the stocks.

ACT III

SCENE I. A Heath.

SCENE II. Another part of the heath.

SCENE III. A Room in Gloucester’s Castle.

SCENE IV. A part of the Heath with a Hovel.

SCENE V. A Room in Gloucester’s Castle.

SCENE VI. A Chamber in a Farmhouse adjoining the Castle.

SCENE VII. A Room in Gloucester’s Castle.

ACT IV

SCENE I. The heath.

SCENE II. Before the Duke of Albany’s Palace.

SCENE III. The French camp near Dover.

SCENE IV. The French camp. A Tent.

SCENE V. A Room in Gloucester’s Castle.

SCENE VI. The country near Dover.

SCENE VII. A Tent in the French Camp.

ACT V

SCENE I. The Camp of the British Forces near Dover.

SCENE II. A field between the two Camps.

SCENE III. The British Camp near Dover.

Dramatis Personæ

LEAR, King of Britain.

GONERIL, eldest daughter to Lear.

REGAN, second daughter to Lear.

CORDELIA, youngest daughter to Lear.

DUKE of ALBANY, married to Goneril.

DUKE of CORNWALL, married to Regan.

KING of FRANCE.

DUKE of BURGUNDY.

EARL of GLOUCESTER.

EDGAR, elder son to Gloucester.

EDMUND, younger bastard son to Gloucester.

EARL of KENT.

FOOL.

OSWALD, steward to Goneril.

CURAN, a Courtier.

OLD MAN, Tenant to Gloucester.

Physician.

An Officer employed by Edmund.

Gentleman, attendant on Cordelia.

A Herald.

Servants to Cornwall.

Knights attending on the King, Officers, Messengers, Soldiers and Attendants.

SCENE: Britain.

ACT I

SCENE I. A Room of State in King Lear’s Palace.

Enter Kent, Gloucester and Edmund.

KENT.

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

GLOUCESTER.

It did always seem so to us; but now, in the division of the kingdom, it appears not which of the Dukes he values most, for qualities are so weighed that curiosity in neither can make choice of either’s moiety.

KENT.

Is not this your son, my lord?

GLOUCESTER.

His breeding, sir, hath been at my charge: I have so often blush’d to acknowledge him that now I am braz’d to’t.

KENT.

I cannot conceive you.

GLOUCESTER.

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

KENT.

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

GLOUCESTER.

But I have a son, sir, by order of law, some year elder than this, who yet is no dearer in my account: though this knave came something saucily to the world before he was sent for, yet was his mother fair; there was good sport at his making, and the whoreson must be acknowledged. Do you know this noble gentleman, Edmund?

EDMUND.

No, my lord.

GLOUCESTER.

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

EDMUND.

My services to your lordship.

KENT.

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

EDMUND.

Sir, I shall study deserving.

GLOUCESTER.

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

[Sennet within.]

Enter Lear, Cornwall, Albany, Goneril, Regan, Cordelia and Attendants.

LEAR.

Attend the lords of France and Burgundy,

Gloucester.

GLOUCESTER.

I shall, my lord.

[Exeunt Gloucester and Edmund.]

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

Unburden’d crawl toward death. Our son of Cornwall,

And you, our no less loving son of Albany,

We have this hour a constant will to publish

Our daughters’ several dowers, that future strife

May be prevented now. The princes, France and Burgundy,

Great rivals in our youngest daughter’s love,

Long in our court have made their amorous sojourn,

And here are to be answer’d. Tell me, my daughters,—

Since now we will divest us both of rule,

Interest of territory, cares of state,—

Which of you shall we say doth love us most?

That we our largest bounty may extend

Where nature doth with merit challenge.—Goneril,

Our eldest born, speak first.

GONERIL.

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

Dearer than eyesight, space, and liberty;

Beyond what can be valu’d, rich or rare;

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

As much as child e’er lov’d, or father found;

A love that makes breath poor and speech unable;

Beyond all manner of so much I love you.

CORDELIA.

[Aside.] What shall Cordelia speak? Love, and be silent.

LEAR.

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

With shadowy forests and with champains rich’d,

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.

REGAN.

Sir, I am made of the 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.

CORDELIA.

[Aside.] Then poor Cordelia,

And yet not so; since, I am

Reviews for King Lear

[composingcomposer · Rating: 5 out of 5 stars]

There are three main reasons for the disorder already occurring by the end of Act I. The first and most obvious is Lear's madness. He certain seems to be loosing it a bit, and his crazed banishment of Cordelia and Kent couldn't possibly have done anything but harm to him. The second reason is Cordelia's sister's treachery. It could be argued that they appear to be trying to protect him and their people by taking away his knights, he is crazy after all, if it weren't for Cordelia's parting words to them; "I know you what you are;/And, like a sister, am most loth to call/Your faults as they are nam'd. Love well our father:/To your professed bosoms I commit him:/But yet, alas, stood I within his grace, I would prefer him to a better place." And a few lines later; "Time shall unfold what plighted cunning/Who cover faults, at last shame them derides." These lines seem to indicate that Cordelia knows that Goneril and Regan are not only flattering Lear for gain, but also that they hold him in contempt, and will likely do him harm, and revealing the second harbinger of disorder.

The third indicator of the chaos to come is Edmund. I feel bad for him, for the contempt others hold him in because of the doings of his parents, but he quickly does what he can to dispel my pity for him with his evil attitudes as he works to turn his father and brother against one another. I find it ironic that he distains his father's belief in fate through astrology, yet confesses that because of when he was born he was supposed to be 'rough and lecherous,' yet doesn't believe himself to have those traits he was just showing.

Shakespeare's purpose in showing this disorder seems to come from the idea of dividing his kingdom. A divided kingdom would often lead to civil war and chaos, so Lear's deliberate dividing of the kingdom would probably have been viewed as deliberately inviting disorder.

Power in England was structured in a pyramid. The king on top, and wealth and power went to a few nobles who had all the money. Lear was trying to disrupt that structure in a way that would have alarmed the people watching the play. Cordelia took a great risk in not bowing to her father's wishes, as his denying her dowry could have driven away both her suitors, leaving her alone and destitute in a world that didn't favor lone women. In her case, however Cordelia's suitor from France still marries her, which would be very unusual since she had no dowry, and she wouldn't gain him an alliance with England.

Family dynamics can change depending on the health of a person, as others may come into their lives and as children grow up. Cordelia was Lear's favorite child, yet when she would not lie to him with flattery, he cast her off. Why? Did he not realize that her impending marriage would change is relationship with her? She would still love him, of course, but even with the play being in pre-Christian era, the belief would probably have been that the wife's foremost alliegence should be to her husband, and Lear should have understood this. In fact, it seems strange that he would have even questioned this part of the structure of society at all.

No one has a perfect family. This is shown in Edgar and Edmund's family. Gloster (or Gloucester as some versions call him) may have been unfaithful to his wife, it's never stated whether she was alive at the time of Edmund's conception. If Gloster was unfaithful to his wife than he was dishonest and breaking one of the oldest understandings of marriage. If Edgar's mother had already died, that Gloster was not responsible enough to remarry, and to marry Edmund's mother, or at least admit himself Edmund's father when the boy was a child, instead of waiting until Edmund was old enough to distinguish himself, and in doing so, add to Gloster's reputation. It seems very unfair that Edmund, and almost any other illigitmate child born until the the late 1900s should be punished for something that their parents did. Yet neither should Edmund take out his misfortunes on his brother, who was, in all probability, guiltless in tormenting him. After all, Edgar trusts Edmund completely, which does not seem like an attitude he would hold had he tormented Edmund before. I think that Gloster could have stopped his fate had he treated Edmund with kindness from the beginning of his life, rather than waiting until Edmund could add to his reputation to acknowledge him.

I don't actually seem him mocking Edmund, so much as simply being ashamed of his illegitimacy because it was Gloster's own act that was the cause of Edmund's bastardy. As Gloster was speaking to Kent, he was very frank about the manner of Edmund's conception, to the point that we would say he was being rude to Edmund, but really, for the time, the fact that he had acknowledged Edmund as his son at all was better than many bastards would have gotten. For this reason I think that more than anything it was the fact that he took so long to acknowledge Edmund, that led to Edmund's bitterness and Gloster's downfall.

(This review is patched up from posts I made on an online Shakespeare class)

[angelarenea-1 · Rating: 3 out of 5 stars]

A fairly quick read. I didn't love it as much as I remember. Lear was way obsessed with 'nature' and the whole thing was so pompous. But not as bad as some of his other stuff.

[jwhenderson_1 · Rating: 5 out of 5 stars]

The division of the Kingdom begins the play with first, the Earls of Kent and Gloucester speculating on the basis for the division and second, the actual division by Lear based on professions of love requested from his three daughters. When this event goes not as planned the action of the play ensues and the reader is in for a wild ride, much as Lear himself.The play provides one of Shakespeare's most thoroughly evil characters in Edmund while much of the rest of the cast is aligned against each other with Lear the outcast suffering along with the Earl of Gloucester who is tricked by his bastard son Edmund into believing that his other son Edgar is plotting against him. While there are some lighter moments the play is generally very dark filled with the bitter results of Lear's poor decisions at the outset. Interestingly we do not get much of a back story and find, other than his age of four score years, little else to suggest why Lear would surrender his power and his Kingdom at the outset. The play is certainly powerful and maintains your interest through dramatic scenes, while it also provides for many questions - some of which remain unanswered.

[deckla_1 · Rating: 3 out of 5 stars]

The illustrations are unremarkable.

[therebelprince · Rating: 5 out of 5 stars]

A very enjoyable edition. Unlike most of the Arden editions, Foakes comes across more as an educator than an academic-among-friends. This does mean occasionally that he'll cover ground most professional-level readers already understand, but it makes this a really well-rounded introduction to the play.

The decision here is to incorporate both Quarto and Folio texts in one, with the differences clearly delineated. It's probably the best possible option for this play, and well done.

[charlie68_1 · Rating: 4 out of 5 stars]

An intriguing play aptly portrayed by the cast, working with an excellent script.

[jfoster_sf · Rating: 5 out of 5 stars]

Classic Shakespeare tragedy.

[takeitorleaveit_1 · Rating: 3 out of 5 stars]

another play. another dreary subject. another tragic ending.

[albertogiuseppe · Rating: 5 out of 5 stars]

Where is the 6th star, or even up to the 101st? Most likely the best English language play ever written, with one of the most phenomenal characters ever created. Hundreds of years before neural imaging began (like, last Tuesday,) to reveal the importance of intrinsic and extrinsic networks on behavior, the different tendencies between men and women and between man and man, the pyramidical, male-dominated social structures our species has tended to create over the last 10,000 years or so, Shakespeare intuited so, so much. From the start, where nothing will come from nothing, (a pun on 'noting' or social mores which, perhaps, the Bard intended in a more comprehensive way,) to Lear's failed, heartbreaking attempt to return to and save something greater than himself, it's a devastating, crystal clear work. We should use our tongues and eyes to crack heaven's gate, but we don't. A lifetime of careful observation, a brilliant mind, and a one-in-a-billion talent for prosody concentrated into a few hours.

[karl6steel · Rating: 5 out of 5 stars]

Teaching it for the second time. The Folger edition is okay, but it badly needs to be updated; and the illustrations in the facing page are, to my mind, badly chosen, unless they're meant only to promote the grandeur of the Folger library. I think they would have done much better to provide photos of scenes taken from various productions/films/adaptations of Lear; no doubt the students would pay more attention to such things, to say nothing of nonexpert instructors like me.

Oh, the play: certainly very good at cutting the legs out from under the notion that suffering can be redemptive. Lear discovers compassion and love, Gloucester grows up, but what do they get? Death. And what are we left with? The two appalling milquetoast prigs, Albany and Edgar,* perhaps the two characters in Lear who understand least well what the whole thing is about. At least Kent has the grace to go off and wait to die.

* Hilarious: I just googled these names and the second hit is some plagiarism mill that's selling an essay that reads "Albany and Edgar both possess honest and kind characters." You have got to be kidding me! Please, please, please let someone try to get this paper past me. How stupid or desperate would someone have to be to pay for a paper that's, at best, a B-?

[alcracka · Rating: 5 out of 5 stars]

My absolute favorite Shakespeare play. Extra love for the fact that this came up when I searched for Stephen King.

[kant1066 · Rating: 5 out of 5 stars]

I don’t really know what to say about King Lear, or anything by Shakespeare, really. A summary would be redundant and out of place. So would gushing about the stunning beauty of the poetry, or how this is some of the greatest writing in the history of the English language, or any language.Only one thing comes to mind when I think of Shakespeare’s greatest plays. Think what you will of Harold Bloom (and there are certainly many opinions about him), I always think, more than anything else, of the title of his book of essays on the plays: “Shakespeare: The Invention of the Human.” Is the title a typically hyperbolic publishing stunt? The more I read and re-read the plays, the less I’m starting to think so. Words simply fail me. They really do. The wonderful things about Modern Library/RSC edition are the introduction, critically informed notes on the text, folio notes, and a sizeable section on historically important performances of “King Lear.” These do a superb job of contextualizing the play, especially in how it performed on stage.

[jbd1 · Rating: 4 out of 5 stars]

One of my favorite Shakespeare plays, though it had been a long time since I read it. Didn't disappoint on a reread!

[jhudsui_1 · Rating: 4 out of 5 stars]

This did not quite top Hamlet as my favorite Shakespeare play but it is way up there. With the exception of the black and white hatted Gloucester boys there is a lot more moral complexity and ambiguity than you normally see in Shakespeare play; it wasn't until well into the play that I had any idea who I was supposed to sympathize with between the king and the daughters and that suspense actually adding a great deal to my interest while reading. Edgar's antic disposition is a lot more interesting and entertaining to me than Hamlet's but he doesn't have anything like Hamlet's soliloquies.

[jscape2000 · Rating: 3 out of 5 stars]

The version of Lear I saw in 2012 too closely matched the texted: too many story lines, too many gag scenes, and too much talking about how hard it is to be king. The tragedy of Lear is that he gets exactly what he deserved. For me, it lacks much of the intrigue of Macbeth or the poetry of Hamlet or Othello.

[rbeene-1 · Rating: 4 out of 5 stars]

Shakespeare but I have not read it in a long time and I do not think that I have ever seen it.

[mstrust · Rating: 4 out of 5 stars]

Vain and silly King Lear demands that each of his three daughters describe their love for him. When the youngest and favored Cordelia gives a reply that is less gushing, but more reasonable, than her sisters, the King banishes her. This sets up a chain of miserable events in which the sisters and their husbands scramble to replace Cordelia in their father's heart, but fail because ambition brings out their cruelty.

[aliceanna-1 · Rating: 4 out of 5 stars]

Probably the best of Shakespeare's works thematically, but not the easiest to follow. The sub-plots, the various intrigues, makes for a very convoluted plot. Some great roles though -- Lear, Edgar playing a madman, the Fool, the evil Edmund and the scheming daughters ... some serious scene-stealing material.

[rosenstern · Rating: 5 out of 5 stars]

One of my favorite Shakespeare plays. King Lear asks his daughters who truly loves him, and the oldest two spin golden words of flattery while the third one cannot do so. Lear abandons his third daughter and this opens the story to the madness that follows. Brilliantly imagined characters and psyches. Worth it

[jmcgarry2011 · Rating: 5 out of 5 stars]

Excellent work. I saw this performed at the Great River Shakespeare Festival in Winona, MN. Very powerful performance. I liked this edition in particular because it explained the nuances of the language right next to the original text. That plus the performance made this easier to understand.

[neurodrew · Rating: 5 out of 5 stars]

King LearWilliam ShakespeareThursday, March 27, 2014 In my Shakespeare class, senior year of college, the professor thought this was the play central to understanding Shakespeare. The tale is familiar; Lear gives up his Kingdom to avoid the cares of ruling, dividing it among his daughters. Cordelia, the most honest, points out that she owes him a duty but also owes her fiancé, the King of France, love and affection. Lear casts her out, because she is not as effusive as her sisters, Regan and Goneril. Goneril, hosts the King first, instructs her servants to ignore his knights, and when he goes to Regan, she sends a letter to ensure he is cast out there as well. Lear goes mad in a storm, succored by Kent, a loyal knight whose advice was unwelcome in the initial scene, and by Edgar, the son of the Earl of Gloucester, who has been usurped by the machinations of Edmund, a bastard son, and who is the lover of Regan and Goneril. Cordelia brings an army to rescue Lear, but is defeated, and in the schemes of Edmund is killed in captivity. Regan dies, poisoned by Goneril jealous of Edmund, Goneril dies by suicide after Edmund is killed by Edgar, Gloucester dies after a blinding, and Lear dies of heart attack. Lear's speeches while mad are the essence of the mature understanding of the human situation "Striving to better, oft' we mar what's well""Let me kiss your hand!" Lear, in response "Let me wipe it first, it smells of mortality"Leather bound, Franklin Library, Tragedies of Shakespeare ($34.60 4/28/2012)

[bradgers-1 · Rating: 5 out of 5 stars]

When people want to rank Shakespeare's plays, usually Hamlet comes out as number one. This, in my experience, is the only other of his plays that I have seen mentioned as his greatest. If I were to rank his plays solely based upon their impact upon the world, I would probably agree with the usual placement of Hamlet as number one. However, were I to rank them based upon their impact on me, Lear gets the nod. Lear accurately and horrifyingly portrays the primal nature of man like few other works of literature; the only other to come to my mind is Lord of the Flies. Yet it's more than that; Lord of the Flies can afford to ignore the effects of sexual attraction and familial ties upon our nature, but Lear (the work, not the character) meets these head-on and uses them to devastating effect. This play alone would guarantee Shakespeare a place as one of the greatest English authors. With the rest of his body of work, there's no question that he is the greatest.

[worldincolour · Rating: 3 out of 5 stars]

There is an abundance of reviews, essays, opinions and prejudicial comments available when talking about Shakespeare. It would seem that the man was incapable of jotting down a bad sentence, let alone a bad story, at least, that's the veil they hand you when calling Shakespeare, morbidly referred to as 'Willy' by those who know the first three lines of Hamlet's 'to be or not to be'-speech, 'the greatest writer of all time'.

In this review, I shall not beshame my opinion by calling anyone Willy, Shakey, Quilly or by using the word 'Shakespearean'. 'King Lear' is not the strongest play in the exuberant repertoire of Shakespeare. It is, however, one of the more reader-friendly ones, which means you don't need a detailed map of familial relations to follow the plot. The story of King Lear relies heavily on stories that already existed at the time, but had only served as traditional folk tales or as long forgotten myths. For those who are oblivious to the plot - King Lear wants to divide his kingdom between his three daughters, Goneril, Regan and Cordelia. Whereas Goneril and Regan go out of their proverbial ways to flatter their father, Cordelia remains reticent (but honest). Which, of course, is not much appreciated. What follows resembles the story of Oedipus, that other Blind King who slowly wandered into his own destruction. Gloucester, one of the side characters, actually does lose his eyes.

'King Lear', in the end, is a reflection on power and what one will do to achieve it. Even though it might be a bit stale nowadays, it still holds true to its message, and for those who enjoy Shakespeare's husky metaphor, this play will provide you with all the ammunition needed.

[bookomaniac-1 · Rating: 4 out of 5 stars]

Een van de krachtigste stukken van Shakespeare; een confrontatie van extremen.

[clif_1 · Rating: 3 out of 5 stars]

This play was discussed by the Great Books KC group of which I am a member. We also watched the movie "A Thousand Acres" to see another version of the plot. This story becomes more harrowing the older one becomes. It's a reminder that one's children don't always remain loyal. But then again, some parents do bad things or make unwise choices.

[wubsy_1 · Rating: 4 out of 5 stars]

I recently read this for the Shakespeare module on my degree, and was a little disappointed. Having been told it was the Bard's masterpiece, I perhaps came to it with rather high expectations, but then doesn't everyone with Shakespeare? In my own opinion I feel that it falls short of Hamlet, though is superior to Othello, Macbeth and Romeo and Juliet in Shakespeare's line-up of 'famous tragedies' in terms of reading; on performance I cannot comment having seen only Hamlet and R&J. The Fool is an excellent character, and his relationship with Cordelia perhaps the most interesting in the drama. Edmond is also a good dramatic character, but the sisters Regan and Gonerill were flat. Lear's language is itself at times brilliant, but something left me wanting the dexterity of Hamlet. Cordelia is powerful in her absence, and really dominates the final act through her own speech, and that of Lear. The play is undoubtedly infused with some magical moments, but as a text to read, it does not, for me, inspire or humor as Hamlet manages.

[mrslee_1 · Rating: 4 out of 5 stars]

For some reason I was rather set against this play at the beginning. However, it had all the elements I enjoy in a story; gruesome, depressing and yet, after act two, compelling. I couldn't put it down. It's sort of the flip-side of his comedies. Lots of misunderstanding at the beginning, betrayals by the bad guys (that's not in the comedies much), lots of people running around disguised as other people, then at the end, instead of everyone forgiving everyone after all is revealed, almost everyone dies. Not quite the happy-ever-after ending of the comedies, yet in this play it worked. I'm left with one thing unsettled though, what happened to the blind Gloucester?

[xshyx · Rating: 5 out of 5 stars]

Let me talk about this specific edition of the book first. I have to read this edition for my creative writing class. At first, it can be so hard to read, but once you put your heart reading it, it is an easy read. This is also because the translation of the words are on the other side of the page. Unlike the other King Lear edition where you need to go to the back of the and check what those words mean. It's also affordable. The play itself is really good - not too depressing or cheesy for me compare to Hamlet. Even though this is about a royal family, anyone can relate it directly or indirectly whether they have rivalry with their siblings or a loyal assistant or having problems with their parents.

[othemts · Rating: 5 out of 5 stars]

This is my favorite Shakespeare tragedy. The plot, language, and characterization show the dramatist at his mature best.

[dirkjohnson_1 · Rating: 5 out of 5 stars]

I'm somewhat biased: Lear is my favorite play written since the time of Euripides (who wrote later than my absolute favorites Aeschylus and Sophocles).The cast and execution of the Naxos audiobook are also excellent. I would list the cast, but the combination of blurred lines between book and performance and my own laziness and busy schedule prohibit me.