Analysis of Major Characters

King Lear

Lear’s basic flaw at the beginning of the play is that he values appearances above reality. He wants to be treated as a king and to enjoy the title, but he doesn’t want to fulfill a king’s obligations of governing for the good of his subjects. Similarly, his test of his daughters demonstrates that he values a flattering public display of love over real love. He doesn’t ask “which of you doth love us most,” but rather, “which of you shall we say doth love us most?” (1.1.49). Most readers conclude that Lear is simply blind to the truth, but Cordelia is already his favorite daughter at the beginning of the play, so presumably he knows that she loves him the most. Nevertheless, Lear values Goneril and Regan’s fawning over Cordelia’s sincere sense of filial duty.

An important question to ask is whether Lear develops as a character—whether he learns from his mistakes and becomes a better and more insightful human being. In some ways the answer is no: he doesn’t completely recover his sanity and emerge as a better king. But his values do change over the course of the play. As he realizes his weakness and insignificance in comparison to the awesome forces of the natural world, he becomes a humble and caring individual. He comes to cherish Cordelia above everything else and to place his own love for Cordelia above every other consideration, to the point that he would rather live in prison with her than rule as a king again.

Lear, King of England: The tired ruler of England, his plan to divide his kingdom between his three daughters and then place his welfare in their trust leads to his humiliation and total loss of power at the hands of his cruel daughters, Regan and Goneril. He misjudges all those around him in the first act, banishing those who care for him the most whilst rewarding those whose kind words prove false. Only after enduring multiple humiliations and betrayals does Lear gain true wisdom and insight, only to die soon thereafter.

Cordelia

Cordelia’s chief characteristics are devotion, kindness, beauty, and honesty—honesty to a fault, perhaps. She is contrasted throughout the play with Goneril and Regan, who are neither honest nor loving, and who manipulate their father for their own ends. By refusing to take part in Lear’s love test at the beginning of the play, Cordelia establishes herself as a repository of virtue, and the obvious authenticity of her love for Lear makes clear the extent of the king’s error in banishing her. For most of the middle section of the play, she is offstage, but as we observe the depredations of Goneril and Regan and watch Lear’s descent into madness, Cordelia is never far from the audience’s thoughts, and her beauty is venerably described in religious terms. Indeed, rumors of her return to Britain begin to surface almost immediately, and once she lands at Dover, the action of the play begins to move toward her, as all the characters converge on the coast. Cordelia’s reunion with Lear marks the apparent restoration of order in the kingdom and the triumph of love and forgiveness over hatred and spite. This fleeting moment of familial happiness makes the devastating finale of King Lear that much more cruel, as Cordelia, the personification of kindness and virtue, becomes a literal sacrifice to the heartlessness of an apparently unjust world.

Goneril and Regan

There is little good to be said for Lear’s older daughters, who are largely indistinguishable in their villainy and spite. Goneril and Regan are clever—or at least clever enough to flatter their father in the play’s opening scene—and, early in the play, their bad behavior toward Lear seems matched by his own pride and temper. But any sympathy that the audience can muster for them evaporates quickly, first when they turn their father out into the storm at the end of Act 2 and then when they viciously put out Gloucester’s eyes in Act 3. Goneril and Regan are, in a sense, personifications of evil—they have no conscience, only appetite. It is this greedy ambition that enables them to crush all opposition and make themselves mistresses of Britain. Ultimately, however, this same appetite brings about their undoing. Their desire for power is satisfied, but both harbor sexual desire for Edmund, which destroys their alliance and eventually leads them to destroy each other. Evil, the play suggests, inevitably turns in on itself.

Goneril (wife to The Duke of Albany):Lear's selfish, ruthless daughter. When Lear asks her to profess her love for him before he gives her part of his kingdom, she professes great love for Lear, "Sir, I love you more than words can wield the matter;" (Act I, Scene I, Line 57). Yet, once Lear has given her half his kingdom, she shirks her obligations to host King Lear by making life so miserable at her castle that King Lear has no choice but to disown her.

The famous expression of the pain of thankless children originates in King Lear's comments of Goneril, when he exclaims, "How sharper than a serpent's tooth it is / To have a thankless child!" (Act I, Scene IV, Line 312).

Regan (wife to The Duke of Cornwall):The second of King Lear's daughters to falsely profess her love then betray Lear. She professes that she is "made of that self metal as my sister", adding that "I profess / Myself an enemy to all other joys / Which the most precious square of sense possesses… In your dear highness' love" (Act I Scene I, Lines 71-78). She too betrays Lear, denying him her castle on the terms obliged by her as a loyal daughter.

Earl of Gloucester (Father of Edgar and illegitimately, Edmund):An ally of Lear, only after he is blinded, does this man gain true insight and wisdom. Parallels Lear's character in his initial gullibility and poor judgment of character in this play. Dies at the end of the play from the duel emotions of grief and joy when he learns that "poor Tom" who was protecting him was Edgar all along..

Date: 2015-12-17; view: 826