# Shakespearean Tragedy/Note V

Layout 2
London: Macmillan, pages 450–453
NOTE V.
SUSPECTED INTERPOLATIONS IN KING LEAR.
There are three passages in King Lear which have been held to be additions made by ‘the players.’
The first consists of the two lines of indecent doggerel spoken by the Fool at the end of Act I.; the second, of the Fool’s’ prophecy in rhyme at the end of III. ii.; the third, of Edgar’s soliloquy at the end of III. vi.
It is suspicious (1) that all three passages occur at the ends of scenes, the place where an addition is most easily made; ​and (2) that in each case the speaker remains behind alone to utter the words after the other persons have gone off.
I postpone discussion of the several passages until I have called attention to the fact that, if these passages are genuine, the number of scenes which end with a soliloquy is larger in King Lear than in any other undoubted tragedy. Thus, taking the tragedies in their probable chronological order (and ignoring the very short scenes into which a battle is sometimes divided), I find that there are in Romeo and Juliet four such scenes, in Julius Cæsar two, in Hamlet six, in Othello four, in King Lear seven, in Macbeth two, in Antony and Cleopatra three, in Coriolanus one. The difference between King Lear and the plays that come nearest to it is really much greater than it appears from this list, for in Hamlet four of the six soliloquies, and in Othello three of the four, are long speeches, while most of those in King Lear are quite short.
Of course I do not attach any great importance to the fact just noticed, but it should not be left entirely out of account in forming an opinion as to the genuineness of the three doubted passages.
​(a) The first of these, I. v. 54–5, I decidedly believe to be spurious. (1) The scene ends quite in Shakespeare’s manner without it. (2) It does not seem likely that at the end of the scene Shakespeare would have introduced anything violently incongruous with the immediately preceding words,
(3) Even if he had done so, it is very unlikely that the incongruous words would have been grossly indecent. (4) Even if they had been, surely they would not have been irrelevantly indecent and evidently addressed to the audience, two faults which are not in Shakespeare’s way. (5) The lines are doggerel. Doggerel is not uncommon in the earliest plays; there are a few lines even in the Merchant of Venice, a line and a half, perhaps, in As You Like It; but I do not think it occurs later, not even where, in an early play, it would certainly have been found, e.g. in the mouth of the Clown in All’s Well. The best that can be said for these lines is that they appear in the Quartos, i.e. in reports, however vile, of the play as performed within two or three years of its composition.
(b) I believe, almost as decidedly, that the second passage, III. ii. 79 ff., is spurious. (1) The scene ends characteristically without the lines. (2) They are addressed directly to the audience. (3) They destroy the pathetic and beautiful effect of the immediately preceding words of the Fool, and also of Lear’s solicitude for him. (4) They involve the absurdity that the shivering timid Fool would allow his master and protector, Lear and Kent, to go away into the storm and darkness, leaving him alone. (5) It is also somewhat against them that they do not appear in the Quartos. At the same time I do not think one would hesitate to accept them if they occurred at any natural place within the dialogue.
(c) On the other hand I see no sufficient reason for doubting the genuineness of Edgar’s soliloquy at the end of III. vi. (1) Those who doubt it appear not to perceive that some words of soliloquy are wanted; for it is evidently intended that, when Kent and Gloster bear the King away, they should leave the Bedlam behind. Naturally they do so. He is only accidentally connected with the King; he was taken to shelter with him merely to gratify his whim, and as the King is now asleep ​there is no occasion to retain the Bedlam; Kent, we know, shrank from him, ‘shunn’d [his] abhorr’d society’ (V. iii. 210). So he is left to return to the hovel where he was first found. When the others depart, then, he must be left behind, and surely would not go off without a word. (2) If his speech is spurious, therefore, it has been substituted for some genuine speech; and surely that is a supposition not to be entertained except under compulsion. (3) There is no such compulsion in the speech. It is not very good, no doubt; but the use of rhymed and somewhat antithetic lines in a gnomic passage is quite in Shakespeare’s manner, more in his manner than, for example, the rhymed passages in I. 1. 183–190, 257–260, 281–4, which nobody doubts; quite like many places in All’s Well, or the concluding lines of King Lear itself. (4) The lines are in spirit of one kind with Edgar’s fine lines at the beginning of Act IV. (5) Some of them, as Delius observes, emphasize the parallelism between the stories of Lear and Gloster. (6) The fact that the Folio omits the lines is, of course, nothing against them.
* ↑ I ignore them partly because they are not significant for the present purpose, but mainly because it is impossible to accept the division of battle-scenes in our modern texts, while to depart from it is to introduce intolerable inconvenience in reference. The only proper plan in Elizabethan drama is to consider a scene ended as soon as no person is left on the stage, and to pay no regard to the question of locality,—a question theatrically insignificant and undetermined in most scenes of an Elizabethan play, in consequence of the absence of movable scenery. In dealing with battles the modern editors seem to have gone on the principle (which they could not possibly apply generally) that, so long as the place is not changed, you have only one scene. Hence in Macbeth, Act V., they have included in their Scene vii. three distinct scenes; yet in Antony and Cleopatra, Act III., following the right division for a wrong reason, they have two scenes (viii. and ix.), each less than four lines long.
* ↑ One of these (V. i.) is not marked as such, but it is evident that the last line and a half form a soliloquy of one remaining character, just as much as some of the soliloquies marked as such in other plays.
* ↑ According to modern editions, eight, Act II., scene ii., being an instance. But it is quite ridiculous to reckon as three scenes what are marked as scenes ii., iii., iv. Kent is on the lower stage the whole time, Edgar in the so-called scene iii. being on the upper stage or balcony. The editors were misled by their ignorance of the stage arrangements.
* ↑ Perhaps three, for V. iii. is perhaps an instance, though not so marked.
Footnotes