He would sense, too, that language suggesting madness, if sufficiently understood, would put tremendous demands upon our powers of concentration. Then, too, just as language, it is unexpected. Take physic, pomp; Expose thyself to feel what wretches feel, That thou mayst shake the superflux to them And show the heavens more just. These two qualities of the speech—its shortness and its enormousness—at the outset may be considered as somewhat separate and paradoxical qualities. Then the similarity becomes both more inclusive and deeper as tragic flaws and tragic courses of action become parallel—Lear and Gloucester, in pride of heart, are also trotting over four-inched bridges and coursing their own shadows for traitors. In addition, the action is arranged from beginning to end that is, from the beginning of Act III to Act IV,scene 6 in such ways that fear does not become horror, or pity some kind of excruciating anguish.
We propose to follow Lear and Shakespeare across the heath to the fields of Dover on what for both was a unique experience, and then to be even more particular, considering the individual scenes leading to this meeting of Lear and Gloucester when in opposite senses neither could see. But in this scene, there is a new reason for the Fool's existence. The greatest of tragic writers built his macrocosms out of tragedy upon tragedy upon tragedy.
Shelley and Keats had a maximum of aspiration but hardly a minimum of gift for plot and character, and even Browning, with his surpassing delineation of men and women in dramatic monologue, could not make anything happen in a drama. At one point, Lear admits there's a "tempest in [his] mind" that's not unlike the storm that rages on the heath 3. My cue is villanous melancholy, with a sigh like Tom o' Bedlam. Shakespeare's friend and fellow actor, Richard Burbage , would have likely been the first Lear. This scene can be criticized for its execution, because it is a scene merely of talk between Kent and a Gentleman, whose talk is obviously directed to us as much as to themselves, but the intention to save us from horror is right. The Fool's final speech presents a contrast between the reality of the world he and Lear are experiencing and a utopian world, where justice and goodness replace evil.
By the convent had become the General Hospital of St. Shelley and Keats had a maximum of aspiration but hardly a minimum of gift for plot and character, and even Browning, with his surpassing delineation of men and women in dramatic monologue, could not make anything happen in a drama. We have come close to the special realm of imaginative or poetic writing, with its special obligations, two of which we shall refer to as vividness and probability. There could I have him now—and there—and there again and there! Then, too, just as language, it is unexpected. But Lear will have no part of submission, especially before his daughters.
Yet a master of tragic drama would also sense that, in scenes depicting a great change in thought and state of mind, action should be kept to a certain minimum, lest too much outer clangor obscure the inner vibrations and tragedy pass over into melodrama. King Lear 1. On the other hand, the madness of Lear could have been drawn at such length that the spectator, like Kent, could not continue to view the suffering or, worse still, until the spectator began to suspect an author was manipulating suffering for suspense—and in either case the spectator would feel that he had seen too much. Do poor Tom some charity, whom the foul fiend vexes. Well, as a simple beginning, it is easy to understand, and the moment demands understanding.
Do poor Tom some charity, whom the foul fiend vexes. Kent gives the messenger a ring for delivery to Cordelia. Enter Edgar [disguised as a madman] EDG. My cue is villanous melancholy, with a sigh like Tom o' Bedlam. So, so, so.