We may begin, however, by referring to two passages which have often been criticised with injustice. The first is that where the blinded Gloster, believing that he is going to leap down Dover cliff, does in fact fall flat on the ground at his feet, and then is persuaded that he has leaped down Dover cliff but has been miraculously preserved. Imagine this incident transferred to Othello, and you realise how completely the two tragedies differ in dramatic atmosphere. In Othello it would be a shocking or a ludicrous dissonance, but it is in harmony with the spirit of King Lear. And not only is this so, but, contrary to expectation, it is not, if properly acted, in the least absurd on the stage. The imagination and the feelings have been worked upon with such effect by the description of the cliff, and by the portrayal of the old man's despair and his son's courageous and loving wisdom, that we are unconscious of the grotesqueness of the incident for common sense.
The second passage is more important, for it deals with the origin of the whole conflict. The oft-repeated judgment that the first scene of King Lear is absurdly improbable, and that no sane man would think of dividing his kingdom among his daughters in proportion to the strength of their several protestations of love, is much too harsh and is based upon a strange misunderstanding. This scene acts effectively, and to imagination the story is not at all incredible. It is merely strange, like so many of the stories on which our romantic dramas are based. Shakespeare, besides, has done a good deal to soften the improbability of the legend, and he has done much more than the casual reader perceives. The very first words of the drama, as Coleridge pointed out, tell us that the division of the kingdom is already settled in all its details, so that only the public announcement of it remains.[126] Later we find that the lines of division have already been drawn on the map of Britain (l. 38), and again that Cordelia's share, which is her dowry, is perfectly well known to Burgundy, if not to France (ll. 197, 245). That then which is censured as absurd, the dependence of the division on the speeches of the daughters, was in Lear's intention a mere form, devised as a childish scheme to gratify his love of absolute power and his hunger for assurances of devotion. And this scheme is perfectly in character. We may even say that the main cause of its failure was not that Goneril and Regan were exceptionally hypocritical, but that Cordelia was exceptionally sincere and unbending. And it is essential to observe that its failure, and the consequent necessity of publicly reversing his whole well-known intention, is one source of Lear's extreme anger. He loved Cordelia most and knew that she loved him best, and the supreme moment to which he looked forward was that in which she should outdo her sisters in expressions of affection, and should be rewarded by that 'third' of the kingdom which was the most 'opulent.' And then--so it naturally seemed to him--she put him to open shame.
There is a further point, which seems to have escaped the attention of Coleridge and others. Part of the absurdity of Lear's plan is taken to be his idea of living with his three daughters in turn. But he never meant to do this. He meant to live with Cordelia, and with her alone.[127] The scheme of his alternate monthly stay with Goneril and Regan is forced on him at the moment by what he thinks the undutifulness of his favourite child. In fact his whole original plan, though foolish and rash, was not a 'hideous rashness'[128] or incredible folly. If carried out it would have had no such consequences as followed its alteration. It would probably have led quickly to war,[129] but not to the agony which culminated in the storm upon the heath. The first scene, therefore, is not absurd, though it must be pronounced dramatically faulty in so far as it discloses the true position of affairs only to an attention more alert than can be expected in a theatrical audience or has been found in many critics of the play.
Let us turn next to two passages of another kind, the two which are mainly responsible for the accusation of excessive painfulness, and so for the distaste of many readers and the long theatrical eclipse of King Lear. The first of these is much the less important; it is the scene of the blinding of Gloster. The blinding of Gloster on the stage has been condemned almost universally; and surely with justice, because the mere physical horror of such a spectacle would in the theatre be a sensation so violent as to overpower the purely tragic emotions, and therefore the spectacle would seem revolting or shocking. But it is otherwise in reading. For mere imagination the physical horror, though not lost, is so far deadened that it can do its duty as a stimulus to pity, and to that appalled dismay at the extremity of human cruelty which it is of the essence of the tragedy to excite. Thus the blinding of Gloster belongs rightly to King Lear in its proper world of imagination; it is a blot upon King Lear as a stage-play.
But what are we to say of the second and far more important passage, the conclusion of the tragedy, the 'unhappy ending,' as it is called, though the word 'unhappy' sounds almost ironical in its weakness? Is this too a blot upon King Lear as a stage-play? The question is not so easily answered as might appear. Doubtless we are right when we turn with disgust from Tate's sentimental alterations, from his marriage of Edgar and Cordelia, and from that cheap moral which every one of Shakespeare's tragedies contradicts, 'that Truth and Virtue shall at last succeed.' But are we so sure that we are right when we unreservedly condemn the feeling which prompted these alterations, or at all events the feeling which beyond question comes naturally to many readers of King Lear who would like Tate as little as we? What they wish, though they have not always the courage to confess it even to themselves, is that the deaths of Edmund, Goneril, Regan and Gloster should be followed by the escape of Lear and Cordelia from death, and that we should be allowed to imagine the poor old King passing quietly in the home of his beloved child to the end which cannot be far off. Now, I do not dream of saying that we ought to wish this, so long as we regard King Lear simply as a work of poetic imagination. But if King Lear is to be considered strictly as a drama, or simply as we consider Othello, it is not so clear that the wish is unjustified. In fact I will take my courage in both hands and say boldly that I share it, and also that I believe Shakespeare would have ended his play thus had he taken the subject in hand a few years later, in the days of Cymbeline and the Winter's Tale. If I read King Lear simply as a drama, I find that my feelings call for this 'happy ending.' I do not mean the human, the philanthropic, feelings, but the dramatic sense. The former wish Hamlet and Othello to escape their doom; the latter does not; but it does wish Lear and Cordelia to be saved. Surely, it says, the tragic emotions have been sufficiently stirred already. Surely the tragic outcome of Lear's error and his daughters' ingratitude has been made clear enough and moving enough. And, still more surely, such a tragic catastrophe as this should seem inevitable. But this catastrophe, unlike those of all the other mature tragedies, does not seem at all inevitable. It is not even satisfactorily motived.[130] In fact it seems expressly designed to fall suddenly like a bolt from a sky cleared by the vanished storm. And although from a wider point of view one may fully recognise the value of this effect, and may even reject with horror the wish for a 'happy ending,' this wider point of view, I must maintain, is not strictly dramatic or tragic.
Of course this is a heresy and all the best authority is against it. But then the best authority, it seems to me, is either influenced unconsciously by disgust at Tate's sentimentalism or unconsciously takes that wider point of view. When Lamb--there is no higher authority--writes, 'A happy ending!--as if the living martyrdom that Lear had gone through, the flaying of his feelings alive, did not make a fair dismissal from the stage of life the only decorous thing for him,' I answer, first, that it is precisely this fair dismissal which we desire for him instead of renewed anguish; and, secondly, that what we desire for him during the brief remainder of his days is not 'the childish pleasure of getting his gilt robes and sceptre again,' not what Tate gives him, but what Shakespeare himself might have given him--peace and happiness by Cordelia's fireside. And if I am told that he has suffered too much for this, how can I possibly believe it with these words ringing in my ears:
| Come, let's away to prison: |
We two alone will sing like birds i' the cage. When thou dost ask me blessing, I'll kneel down, And ask of thee forgiveness: so we'll live, And pray, and sing, and tell old tales, and laugh At gilded butterflies?
And again when Schlegel declares that, if Lear were saved, 'the whole' would 'lose its significance,' because it would no longer show us that the belief in Providence 'requires a wider range than the dark pilgrimage on earth to be established in its whole extent,' I answer that, if the drama does show us that, it takes us beyond the strictly tragic point of view.[131]
A dramatic mistake in regard to the catastrophe, however, even supposing it to exist, would not seriously affect the whole play. The principal structural weakness of King Lear lies elsewhere. It is felt to some extent in the earlier Acts, but still more (as from our study of Shakespeare's technique we have learnt to expect) in the Fourth and the first part of the Fifth. And it arises chiefly from the double action, which is a peculiarity of King Lear among the tragedies. By the side of Lear, his daughters, Kent, and the Fool, who are the principal figures in the main plot, stand Gloster and his two sons, the chief persons of the secondary plot. Now by means of this double action Shakespeare secured certain results highly advantageous even from the strictly dramatic point of view, and easy to perceive. But the disadvantages were dramatically greater. The number of essential characters is so large, their actions and movements are so complicated, and events towards the close crowd on one another so thickly, that the reader's attention,[132] rapidly transferred from one centre of interest to another, is overstrained. He becomes, if not intellectually confused, at least emotionally fatigued. The battle, on which everything turns, scarcely affects him. The deaths of Edmund, Goneril, Regan and Gloster seem 'but trifles here'; and anything short of the incomparable pathos of the close would leave him cold. There is something almost ludicrous in the insignificance of this battle, when it is compared with the corresponding battles in Julius Caesar and Macbeth; and though there may have been further reasons for its insignificance, the main one is simply that there was no room to give it its due effect among such a host of competing interests.[133]
A comparison of the last two Acts of Othello with the last two Acts of King Lear would show how unfavourable to dramatic clearness is a multiplicity of figures. But that this multiplicity is not in itself a fatal obstacle is evident from the last two Acts of Hamlet, and especially from the final scene. This is in all respects one of Shakespeare's triumphs, yet the stage is crowded with characters. Only they are not leading characters. The plot is single; Hamlet and the King are the 'mighty opposites'; and Ophelia, the only other person in whom we are obliged to take a vivid interest, has already disappeared. It is therefore natural and right that the deaths of Laertes and the Queen should affect us comparatively little. But in King Lear, because the plot is double, we have present in the last scene no less than five persons who are technically of the first importance--Lear, his three daughters and Edmund; not to speak of Kent and Edgar, of whom the latter at any rate is technically quite as important as Laertes. And again, owing to the pressure of persons and events, and owing to the concentration of our anxiety on Lear and Cordelia, the combat of Edgar and Edmund, which occupies so considerable a space, fails to excite a tithe of the interest of the fencing-match in Hamlet. The truth is that all through these Acts Shakespeare has too vast a material to use with complete dramatic effectiveness, however essential this very vastness was for effects of another kind.
Added to these defects there are others, which suggest that in King Lear Shakespeare was less concerned than usual with dramatic fitness: improbabilities, inconsistencies, sayings and doings which suggest questions only to be answered by conjecture. The improbabilities in King Lear surely far surpass those of the other great tragedies in number and in grossness. And they are particularly noticeable in the secondary plot. For example, no sort of reason is given why Edgar, who lives in the same house with Edmund, should write a letter to him instead of speaking; and this is a letter absolutely damning to his character. Gloster was very foolish, but surely not so foolish as to pass unnoticed this improbability; or, if so foolish, what need for Edmund to forge a letter rather than a conversation, especially as Gloster appears to be unacquainted with his son's handwriting?[134] Is it in character that Edgar should be persuaded without the slightest demur to avoid his father instead of confronting him and asking him the cause of his anger? Why in the world should Gloster, when expelled from his castle, wander painfully all the way to Dover simply in order to destroy himself (IV. i. 80)? And is it not extraordinary that, after Gloster's attempted suicide, Edgar should first talk to him in the language of a gentleman, then to Oswald in his presence in broad peasant dialect, then again to Gloster in gentle language, and yet that Gloster should not manifest the least surprise?
Again, to take three instances of another kind; (a) only a fortnight seems to have elapsed between the first scene and the breach with Goneril; yet already there are rumours not only of war between Goneril and Regan but of the coming of a French army; and this, Kent says, is perhaps connected with the harshness of both the sisters to their father, although Regan has apparently had no opportunity of showing any harshness till the day before. (b) In the quarrel with Goneril Lear speaks of his having to dismiss fifty of his followers at a clap, yet she has neither mentioned any number nor had any opportunity of mentioning it off the stage. (c) Lear and Goneril, intending to hurry to Regan, both send off messengers to her, and both tell the messengers to bring back an answer. But it does not appear either how the messengers could return or what answer could be required, as their superiors are following them with the greatest speed.
Once more, (a) why does Edgar not reveal himself to his blind father, as he truly says he ought to have done? The answer is left to mere conjecture. (b) Why does Kent so carefully preserve his incognito till the last scene? He says he does it for an important purpose, but what the purpose is we have to guess. (c) Why Burgundy rather than France should have first choice of Cordelia's hand is a question we cannot help asking, but there is no hint of any answer.[135] (d) I have referred already to the strange obscurity regarding Edmund's delay in trying to save his victims, and I will not extend this list of examples. No one of such defects is surprising when considered by itself, but their number is surely significant. Taken in conjunction with other symptoms it means that Shakespeare, set upon the dramatic effect of the great scenes and upon certain effects not wholly dramatic, was exceptionally careless of probability, clearness and consistency in smaller matters, introducing what was convenient or striking for a momentary purpose without troubling himself about anything more than the moment. In presence of these signs it seems doubtful whether his failure to give information about the fate of the Fool was due to anything more than carelessness or an impatient desire to reduce his overloaded material.[136]
Before I turn to the other side of the subject I will refer to one more characteristic of this play which is dramatically disadvantageous. In Shakespeare's dramas, owing to the absence of scenery from the Elizabethan stage, the question, so vexatious to editors, of the exact locality of a particular scene is usually unimportant and often unanswerable; but, as a rule, we know, broadly speaking, where the persons live and what their journeys are. The text makes this plain, for example, almost throughout Hamlet, Othello and Macbeth; and the imagination is therefore untroubled. But in King Lear the indications are so scanty that the reader's mind is left not seldom both vague and bewildered. Nothing enables us to imagine whereabouts in Britain Lear's palace lies, or where the Duke of Albany lives. In referring to the dividing-lines on the map, Lear tells us of shadowy forests and plenteous rivers, but, unlike Hotspur and his companions, he studiously avoids proper names. The Duke of Cornwall, we presume in the absence of information, is likely to live in Cornwall; but we suddenly find, from the introduction of a place-name which all readers take at first for a surname, that he lives at Gloster (I. v. 1).[137] This seems likely to be also the home of the Earl of Gloster, to whom Cornwall is patron. But no: it is a night's journey from Cornwall's 'house' to Gloster's, and Gloster's is in the middle of an uninhabited heath.[138] Here, for the purpose of the crisis, nearly all the persons assemble, but they do so in a manner which no casual spectator or reader could follow. Afterwards they all drift towards Dover for the purpose of the catastrophe; but again the localities and movements are unusually indefinite. And this indefiniteness is found in smaller matters. One cannot help asking, for example, and yet one feels one had better not ask, where that 'lodging' of Edmund's can be, in which he hides Edgar from his father, and whether Edgar is mad that he should return from his hollow tree (in a district where 'for many miles about there's scarce a bush') to his father's castle in order to soliloquise (II. iii.):--for the favourite stage-direction, 'a wood' (which is more than 'a bush'), however convenient to imagination, is scarcely compatible with the presence of Kent asleep in the stocks.[139] Something of the confusion which bewilders the reader's mind in King Lear recurs in Antony and Cleopatra, the most faultily constructed of all the tragedies; but there it is due not so much to the absence or vagueness of the indications as to the necessity of taking frequent and fatiguing journeys over thousands of miles. Shakespeare could not help himself in the Roman play: in King Lear he did not choose to help himself, perhaps deliberately chose to be vague.
From these defects, or from some of them, follows one result which must be familiar to many readers of King Lear. It is far more difficult to retrace in memory the steps of the action in this tragedy than in Hamlet, Othello, or Macbeth. The outline is of course quite clear; anyone could write an 'argument' of the play. But when an attempt is made to fill in the detail, it issues sooner or later in confusion even with readers whose dramatic memory is unusually strong.[140]