Cordelia and Lear

Then she thinks better of doing so: "And yet I wish but for the thing I have: / My bounty is as bound slight as the sea, / My applaud as deep; the to a greater extent I give to thee, / The more I have, for some(prenominal) are infinite" (II.ii.131-135). If there is a quantitative difference in the midst of liking and loving, Juliet's strategy of making get laid nevertheless relies on its absolute ease of access wherever there is good feeling. Elsewhere, Shakespeare compares love to a star "whose worth's unknown, although his height be taken" (Sonnet 116), other way of expressing the idea that love eludes measure. Cordelia's strategy of love ignores that possibility, with the result that to "love and be silent," fleck perhaps a perfectly reasonable rejoinder to Lear's unreasoned take for affection, is not sufficient to the task of answering the force of that demand. remedy less does that strategy answer the showy flourish of false emotion on the part of Goneril and Regan, which overtakes whatever force stainless reason might have. Thus when Cordelia tries to trace amends, asking Lear to "make known /It is no vicious blot, murder, or foulness . . . That hath deprived me of your grace and favour" (I.i.229-32), her plea move on desensitize ears, too little too late.

The au thereforeticity of Cordelia's love brush off be read as moral rectitude, but she falls into the trap of consider

The bastard Edmund espouses another view of nature, which is that it opposes manmade (i.e., artificial) order. This view provides the basis for dramatic irony. In verbal expression nature is his goddess, he means that he does not esteem manmade law and custom, which prevent him from inheriting what he sees as his birthright. Meanwhile, Edmund's earthy father Gloucester has acknowledged paternity and plainly has affection for both him and his legitimate brother Edgar. Indeed, Gloucester's affection for Edmund, which is in one intellect the inseparable affection of a parent who appears to have love his mistress better than his wife, seems partial when compared to his more or less dutiful affection toward the legitimate Edgar.

Edmund's treachery against Edgar is unnatural to the period it disrupts the order of society and to the degree it violates what might have been the natural affection of brother and brother.

Edgar pronounces the significance of tragedy when he says, " custody must endure / Their going hence, even as their access hither: / Ripeness is all" (V.ii.9-11). If transcendence is all in tragedy, then King Lear can be seen as essentially hopeful and the terminations of Lear and Cordelia as having the purpose of illustrating the psychological peace the accompanies confidence in moral strength and a preference for the view that the betrayal of justice does not necessarily make justice valueless. On the other hand, if the conditions under which or the reasons for which flavour is preferable to death are less important than the very fact of life or death, then the deaths of Lear and Cordelia are undoubtedly purposeless and baseless.

The adulteration of physical experience, together with the experience of love irrespective of his presumed stature, tag the beginning of Lear's emotional growth and acuteness into the difference between flattery and love and the consequences of being vulnerable to flattery. Such insight explains his telling Cordelia, "When thou dost ask me blessing, I'l
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