Act 2 Scene 4 (215 - 328)
KING LEAR
Who stock'd my servant? Regan, I have good hope
Thou didst not know on't. Who comes here? O heavens,
Enter GONERIL
If you do love old men, if your sweet sway
Allow obedience, if yourselves are old,
Make it your cause; send down, and take my part!
To GONERIL
Art not ashamed to look upon this beard?
O Regan, wilt thou take her by the hand?
GONERIL
Why not by the hand, sir? How have I offended?
All's not offence that indiscretion finds
And dotage terms so.
KING LEAR
O sides, you are too tough;
Will you yet hold? How came my man i' the stocks?
CORNWALL
I set him there, sir: but his own disorders
Deserved much less advancement.
KING LEAR
You! did you?
REGAN
I pray you, father, being weak, seem so.
If, till the expiration of your month,
You will return and sojourn with my sister,
Dismissing half your train, come then to me:
I am now from home, and out of that provision
Which shall be needful for your entertainment.
KING LEAR
Return to her, and fifty men dismiss'd?
No, rather I abjure all roofs, and choose
To wage against the enmity o' the air;
To be a comrade with the wolf and owl,--
Necessity's sharp pinch! Return with her?
Why, the hot-blooded France, that dowerless took
Our youngest born, I could as well be brought
To knee his throne, and, squire-like; pension beg
To keep base life afoot. Return with her?
Persuade me rather to be slave and sumpter
To this detested groom.
Pointing at OSWALD
GONERIL
At your choice, sir.
KING LEAR
I prithee, daughter, do not make me mad:
I will not trouble thee, my child; farewell:
We'll no more meet, no more see one another:
But yet thou art my flesh, my blood, my daughter;
Or rather a disease that's in my flesh,
Which I must needs call mine: thou art a boil,
A plague-sore, an embossed carbuncle,
In my corrupted blood. But I'll not chide thee;
Let shame come when it will, I do not call it:
I do not bid the thunder-bearer shoot,
Nor tell tales of thee to high-judging Jove:
Mend when thou canst; be better at thy leisure:
I can be patient; I can stay with Regan,
I and my hundred knights.
REGAN
Not altogether so:
I look'd not for you yet, nor am provided
For your fit welcome. Give ear, sir, to my sister;
For those that mingle reason with your passion
Must be content to think you old, and so--
But she knows what she does.
KING LEAR
Is this well spoken?
REGAN
I dare avouch it, sir: what, fifty followers?
Is it not well? What should you need of more?
Yea, or so many, sith that both charge and danger
Speak 'gainst so great a number? How, in one house,
Should many people, under two commands,
Hold amity? 'Tis hard; almost impossible.
GONERIL
Why might not you, my lord, receive attendance
From those that she calls servants or from mine?
REGAN
Why not, my lord? If then they chanced to slack you,
We could control them. If you will come to me,--
For now I spy a danger,--I entreat you
To bring but five and twenty: to no more
Will I give place or notice.
KING LEAR
I gave you all--
REGAN
And in good time you gave it.
KING LEAR
Made you my guardians, my depositaries;
But kept a reservation to be follow'd
With such a number. What, must I come to you
With five and twenty, Regan? said you so?
REGAN
And speak't again, my lord; no more with me.
KING LEAR
Those wicked creatures yet do look well-favour'd,
When others are more wicked: not being the worst
Stands in some rank of praise.
To GONERIL
I'll go with thee:
Thy fifty yet doth double five and twenty,
And thou art twice her love.
GONERIL
Hear me, my lord;
What need you five and twenty, ten, or five,
To follow in a house where twice so many
Have a command to tend you?
REGAN
What need one?
KING LEAR
O, reason not the need: our basest beggars
Are in the poorest thing superfluous:
Allow not nature more than nature needs,
Man's life's as cheap as beast's: thou art a lady;
If only to go warm were gorgeous,
Why, nature needs not what thou gorgeous wear'st,
Which scarcely keeps thee warm. But, for true need,--
You heavens, give me that patience, patience I need!
You see me here, you gods, a poor old man,
As full of grief as age; wretched in both!
If it be you that stir these daughters' hearts
Against their father, fool me not so much
To bear it tamely; touch me with noble anger,
And let not women's weapons, water-drops,
Stain my man's cheeks! No, you unnatural hags,
I will have such revenges on you both,
That all the world shall--I will do such things,--
What they are, yet I know not: but they shall be
The terrors of the earth. You think I'll weep
No, I'll not weep:
I have full cause of weeping; but this heart
Shall break into a hundred thousand flaws,
Or ere I'll weep. O fool, I shall go mad!
I think this passage is really important because it kind of shows how Regan and Goneril are manipulative and greedy. Neither one thinks about their father in an endearing way, and in fact find him to be a large burden. I know that this passage was long, but I thought it was really important to the progression of the plot, and Lear's madness. It also includes many allusions to nature and what it means throughout the play.
I agree that it really shows the effects that the greed of Regan and Goneril have on Lear and his mental health. I also think it shows that Lear's madness doesn't stem from his own greed but the greed of his children, stripping him of his control and thus resulting in madness.
ReplyDeleteI think this passage also plays into the theme or irony that Shakespeare uses. Goneril and Regan claimed such love for him at the premise of the play and now their true colors are revealed. Whereas Cordelia was banished and condemned for her lack of explicit affection eventhough she is the only daughter that is truly faithful to Lear.
ReplyDeleteThe irony really shines when King Lear says “I gave you all—“ and Regan interrupts him with “And in good time you gave it”. It’s quite sad really; Lear tells Regan that he gave her so much and she simply cuts him off by saying that it’s about time he did. Regan’s degradation of Lear’s worth as merely an inheritance is so insulting that it contributes to his emotional trauma; his “heart shall break”. Her treatment allows for the audience to understand that Lear has “full cause of weeping”. Through Shakespeare’s crafting of the scene, he easily sets the daughters as the cause of Lear’s madness, otherwise the cause would be himself, and himself only.
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