page_title: King Lear
section_title: Historicist interpretations
hierarchical_section_title: King Lear / Analysis and criticism / Historicist interpretations
caption_attribution_description: Español: Gustav Pope (Austria 1831–1910 Londres), Las hijas del Rey Lear, ca. 1875–1876; óleo sobre tela; 44 1/2 x 32 5/16 in (113 x 82 cm) Colección Museo de Arte de Ponce. #71.0761
context_page_description: King Lear is a tragedy written by William Shakespeare. It tells the tale of a king who bequeaths his power and land to two of his three daughters, after they declare their love for him in a fawning and obsequious manner. His third daughter gets nothing, because she will not flatter him as her sisters had done. When he feels he has been treated with disrespect by the two daughters who now have his wealth and power, he becomes furious to the point of madness. He eventually becomes tenderly reconciled to his third daughter, just before tragedy strikes her and then the king.
  Derived from the legend of Leir of Britain, a mythological pre-Roman Celtic king, the play has been widely adapted for the stage and motion pictures, with the title role coveted by accomplished actors.
  The first attribution to Shakespeare of this play, originally drafted in 1605 or 1606 at the latest with its first known performance on St. Stephen's Day in 1606, was a 1608 publication in a quarto of uncertain provenance, in which the play is listed as a history; it may be an early draft or simply reflect the first performance text.
context_section_description: John F. Danby, in his Shakespeare's Doctrine of Nature – A Study of King Lear (1949), argues that Lear dramatizes, among other things, the current meanings of "Nature." The words "nature," "natural," and "unnatural" occur over forty times in the play, reflecting a debate in Shakespeare's time about what nature really was like; this debate pervades the play and finds symbolic expression in Lear's changing attitude to Thunder. There are two strongly contrasting views of human nature in the play: that of the Lear party (Lear, Gloucester, Albany, Kent), exemplifying the philosophy of Bacon and Hooker, and that of the Edmund party (Edmund, Cornwall, Goneril, Regan), akin to the views later formulated by Hobbes, though the latter had not yet begun his philosophy career when Lear was first performed. Along with the two views of Nature, the play contains two views of Reason, brought out in Gloucester and Edmund's speeches on astrology (1.2). The rationality of the Edmund party is one with which a modern audience more readily identifies. But the Edmund party carries bold rationalism to such extremes that it becomes madness: a madness-in-reason, the ironic counterpart of Lear's "reason in madness" (IV.6.190) and the Fool's wisdom-in-folly. This betrayal of reason lies behind the play's later emphasis on feeling.
  The two Natures and the two Reasons imply two societies. Edmund is the New Man, a member of an age of competition, suspicion, glory, in contrast with the older society which has come down from the Middle Ages, with its belief in co-operation, reasonable decency, and respect for the whole as greater than the part. King Lear is thus an allegory. The older society, that of the medieval vision, with its doting king, falls into error, and is threatened by the new Machiavellianism; it is regenerated and saved by a vision of a new order, embodied in the king's rejected daughter. Cordelia, in the allegorical scheme, is threefold: a person; an ethical principle (love); and a community. Nevertheless, Shakespeare's understanding of the New Man is so extensive as to amount almost to sympathy. Edmund is the last great expression in Shakespeare of that side of Renaissance individualism—the energy, the emancipation, the courage—which has made a positive contribution to the heritage of the West. "He embodies something vital which a final synthesis must reaffirm. But he makes an absolute claim which Shakespeare will not support. It is right for man to feel, as Edmund does, that society exists for man, not man for society. It is not right to assert the kind of man Edmund would erect to this supremacy."
  The play offers an alternative to the feudal-Machiavellian polarity, an alternative foreshadowed in France's speech (I.1.245–256), in Lear and Gloucester's prayers (III.4. 28–36; IV.1.61–66), and in the figure of Cordelia. Until the decent society is achieved, we are meant to take as role-model (though qualified by Shakespearean ironies) Edgar, "the machiavel of goodness," endurance, courage and "ripeness."
  The play also contains references to disputes between King James I and Parliament. In the 1604 elections to the House of Commons, Sir John Fortescue, the Chancellor of the Exchequer, was defeated by a member of the Buckinghamshire gentry, Sir Francis Goodwin. Displeased with the result, James declared the result of the Buckinghhamshire election invalid, and swore in Fortescue as the MP for Buckinghamshire while the House of Commons insisted on swearing in Goodwin, leading to a clash between King and Parliament over who had the right to decide who sat in the House of Commons. The MP Thomas Wentworth, the son of another MP Peter Wentworth—often imprisoned under Elizabeth for raising the question of the succession in the Commons—was most forceful in protesting James's attempts to reduce the powers of the House of Commons, saying the King could not just declare the results of an election invalid if he disliked who had won the seat as he was insisting that he could. The character of Kent resembles Peter Wentworth in the way which is tactless an
caption: Three daughters of King Lear by Gustav Pope
exif: {"Image Make": "Panasonic", "Image Model": "DMC-FH20", "Image Orientation": "Horizontal (normal)", "Image XResolution": "180", "Image YResolution": "180", "Image ResolutionUnit": "Pixels/Inch", "Image Software": "Ver.1.0", "Image DateTime": "2013:07:19 17:47:17", "Image YCbCrPositioning": "Co-sited", "Image ExifOffset": "636", "Image PrintIM": "[80, 114, 105, 110, 116, 73, 77, 0, 48, 50, 53, 48, 0, 0, 14, 0, 1, 0, 22, 0, ... ]", "Image Tag 0xC6D2": "[0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, ... ]", "Image Tag 0xC6D3": "[0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, ... ]", "Thumbnail Compression": "JPEG (old-style)", "Thumbnail Orientation": "Horizontal (normal)", "Thumbnail XResolution": "180", "Thumbnail YResolution": "180", "Thumbnail ResolutionUnit": "Pixels/Inch", "Thumbnail JPEGInterchangeFormat": "11764", "Thumbnail JPEGInterchangeFormatLength": "5846", "Thumbnail YCbCrPositioning": "Co-sited", "EXIF ExposureTime": "1/8", "EXIF FNumber": "33/10", "EXIF ExposureProgram": "Portrait Mode", "EXIF ISOSpeedRatings": "400", "EXIF ExifVersion": "0221", "EXIF DateTimeOriginal": "2013:07:19 17:47:17", "EXIF DateTimeDigitized": "2013:07:19 17:47:17", "EXIF ComponentsConfiguration": "YCbCr", "EXIF CompressedBitsPerPixel": "4", "EXIF ExposureBiasValue": "0", "EXIF MaxApertureValue": "86/25", "EXIF MeteringMode": "Pattern", "EXIF LightSource": "Unknown", "EXIF Flash": "Flash did not fire, compulsory flash mode", "EXIF FocalLength": "5", "EXIF FlashPixVersion": "0100", "EXIF ColorSpace": "sRGB", "EXIF ExifImageWidth": "4320", "EXIF ExifImageLength": "3240", "Interoperability InteroperabilityIndex": "R98", "Interoperability InteroperabilityVersion": "[48, 49, 48, 48]", "EXIF InteroperabilityOffset": "10398", "EXIF SensingMethod": "One-chip color area", "EXIF FileSource": "Digital Camera", "EXIF SceneType": "Directly Photographed", "EXIF CustomRendered": "Normal", "EXIF ExposureMode": "Auto Exposure", "EXIF WhiteBalance": "Auto", "EXIF DigitalZoomRatio": "0", "EXIF FocalLengthIn35mmFilm": "28", "EXIF SceneCaptureType": "Standard", "EXIF GainControl": "High gain up", "EXIF Contrast": "Normal", "EXIF Saturation": "Normal", "EXIF Sharpness": "Normal"}