The30MinuteShakespeare

 

 

 

 

KING LEAR
CHARACTERS IN THE PLAY

The following is a list of characters that appear in this cutting of King Lear.

Nineteen actors appeared in the original production. This number can be increased to about thirty or decreased to about twelve by having actors share or double roles.

For the full breakdown of characters, see Sample Program.

KING LEAR: King of Britain

KENT: Earl of Kent, a loyal subject to King Lear

GLOUCESTER: Earl of Gloucester, father to Edgar and Edmund

EDMUND: Bastard son to the Earl of Gloucester

CORDELIA: Youngest daughter to King Lear

GONERIL: Oldest daughter to King Lear, wife to the Duke of Albany REGAN: Middle daughter to King Lear, wife to the Duke ofCornwall ALBANY: Duke of Albany, husband to Goneril

CORNWALL: Duke of Cornwall, husband to Regan

EDGAR: son to the Earl of Gloucester

FOOL HERALD GENTLEMAN ATTENDANTS NARRATORS

 

 

 

 

✴ SCENE 1. (ACT I, SCENE I)

King Lear’s palace.

STAGEHAND sets throne center stage.

SOUND OPERATOR plays Sound Cue #1 (“Ominous music”).

Enter NARRATOR from stage right, coming downstage center.

 

NARRATOR

King Lear, intending to divide his power and his kingdom among his three daughters, demands public professions of their love.

Exit NARRATOR stage right.

Enter KENT, GLOUCESTER, and EDMUND from stage left.

 

KENT

Is not this your son, my lord?

 

GLOUCESTER

His breeding, sir, hath been at my charge: But I have, sir, a son by order of law, some year elder than this, who yet is no dearer in my account: though this knave came something saucily into the world, and the whoreson must be acknowledged. Do you know this noble gentleman, Edmund?

 

EDMUND

No, my lord.

 

GLOUCESTER

My lord of Kent: remember him hereafter as my honorable friend.

 

EDMUND (bows)

My services to your lordship.

 

GLOUCESTER

The king is coming.

EDMUND, KENT, and GLOUCESTER stand stage right, awaiting royal entrance.

SOUND OPERATOR plays Sound Cue #2 (“Royal entrance music”).

Enter GONERIL and ALBANY from stage rear, proceeding to stage right. REGAN and CORNWALL follow, crossing tostage left. They are followed by CORDELIA, who stands left of the throne. KING LEAR enters last, shuffling in slowly and using his sword as a cane. He takes his seat in the throne. ALL bow to him.

KING LEAR holds out his hand, and KENT places a rolled-up map into it. LEAR unrolls the map and lays it on theground in front of him. As he speaks, he points at it with his sword.

 

KING LEAR

Know that we have divided

In three our kingdom while we Unburthen’d crawl toward death. Tell me,

my daughters:

Which of you shall we say doth love us most? That we our largest bounty may extend. Goneril, Our eldest-born, speak first.

As GONERIL speaks, she approaches the throne and kneels at her father’s feet. She then returns to ALBANY’S side.

GONERIL

Sir, I love you more than words can wield the matter;

Dearer than eye-sight, space, and liberty;

A love that makes breath poor, and speech unable; Beyond all manner of so much I love you.

 

CORDELIA (aside)

What shall Cordelia do? Love, and be silent.

 

KING LEAR (to GONERIL)

Of all these bounds, even from this line to this, We make thee lady: to thine and Albany’s issue Be this perpetual. (to REGAN)

What says our second daughter, Our dearest Regan? Speak.

As REGAN speaks, she approaches the throne and kneels at her father’s feet. She then returns to CORNWALL’S side.

 

REGAN

Sir, I am made

Of the self-same metal that my sister is, And prize me at her worth. In my true heart I find she names my very deed of love;

Only she comes too short: I am alone felicitate

In your dear highness’ love.

 

CORDELIA (aside)

Then poor Cordelia!

And yet not so; since, I am sure, my love’s More richer than my tongue.

 

KING LEAR (to REGAN)

To thee and thine hereditary ever

Remain this ample third of our fair kingdom;

(to CORDELIA)

Now, our joy,

Although the last, not least; what can you say to draw

A third more opulent than your sisters? Speak.

 

CORDELIA

Nothing, my lord.

 

REGAN, CORNWALL, GONERIL, and ALBANY react with shock at this pronouncement.

 

KING LEAR (stands)

Nothing!

 

CORDELIA

Nothing.

 

KING LEAR

Nothing will come of nothing: speak again.

 

CORDELIA

Unhappy that I am, I cannot heave

My heart into my mouth: I love your majesty According to my bond; nor more nor less.

 

KING LEAR

How, how, Cordelia! Mend your speech a little, Lest it may mar your fortunes.

 

CORDELIA

Good my lord,

You have begot me, bred me, loved me:

 

Return those duties back as are right fit, Obey you, love you, and most honor you.

 

KING LEAR

So young, and so untender?

 

CORDELIA

So young, my lord, and true.

 

As KING LEAR speaks, he gestures with his sword, thrusting it up on “sun” and pointing it downward on “Hecate.”

 

KING LEAR

Let it be so; thy truth, then, be thy dower: For, by the sacred radiance of the sun, The mysteries of Hecate, and the night; Here I disclaim all my paternal care,

(throws CORDELIA to the ground) And as a stranger to my heart and me Hold thee, from this, for ever.

 

KENT

Good my liege,—

 

KENT approaches KING LEAR, who holds him off with his sword.

 

KING LEAR

Peace, Kent!

Come not between the dragon and his wrath. I loved her most. Hence, and avoid my sight!

 

KENT

Royal Lear,

Thy youngest daughter does not love thee least; I’ll tell thee thou dost evil.

 

KING LEAR

Hear me, recreant!

Since thou hast sought to make us break our vow, Turn thy hated back

Upon our kingdom:

If thy banish’d trunk be found in our dominions, The moment is thy death. Away! By Jupiter,

This shall not be revoked.

 

KENT

Fare thee well, king: sith thus thou wilt appear, Freedom lives hence, and banishment is here.

(to CORDELIA, helping her up from the ground)

The gods to their dear shelter take thee, maid, That justly think’st, and hast most rightly said!

 

Exit KENT stage left.

 

CORDELIA

I yet beseech your majesty,—

If for I want that glib and oily art,

To speak and purpose not; such a tongue I am glad I have not, though not to have it Hath lost me in your liking.

 

KING LEAR

Better thou

Hadst not been born than not to have pleased me better.

Exit KING LEAR stage left, followed by all but GONERIL and

REGAN, who stand on either side of CORDELIA.

 

CORDELIA

Time shall unfold what plaited cunning hides: Who cover faults, at last shame them derides.

 

Exit CORDELIA stage left.

 

GONERIL

You see how full of changes his age is; he always loved our sister most; and with what poor judgment he hath now cast her off appears too grossly.

REGAN

’Tis the infirmity of his age: yet he hath ever but slenderly known himself. Such unconstant starts are we like to have from him as this of Kent’s banishment.

 

GONERIL (moves close to REGAN, speaking conspiratorially)

We must do something, and i’ the heat.

Exit GONERIL and REGAN stage left.

STAGEHANDS move throne from stage center to stage left.

 

 

 

 

✴ SCENE 2. (ACT I, SCENE II)

The Earl of Gloucester’s castle.

Enter NARRATOR from stage right, coming downstage center.

 

NARRATOR

Edmund, the Earl of Gloucester’s illegitimate son, plots to displace Edgar, Gloucester’s legitimate son andsuccessor, by turning Gloucester against him.

Exit NARRATOR stage left.

Enter EDMUND from stage rear, holding a letter. As he speaks, he walks slowly downstage center.

 

EDMUND

Thou, nature, art my goddess; to thy law My services are bound. Wherefore should I Stand in the plague of custom, and permit The curiosity of nations to deprive me,

For that I am some twelve or fourteen moon-shines Lag of a brother? Why bastard? Wherefore base?

Legitimate Edgar, I must have your land:

(sits in throne)

Fine word,—legitimate!

Well, my legitimate, if this letter speed, Edmund the base

Shall top the legitimate. (stands, continuing downstage center)

I grow; I prosper:

Now, gods, stand up for bastards!

 

Enter GLOUCESTER from stage left.

 

GLOUCESTER

Edmund, how now! What news?

 

EDMUND

So please your lordship, none.

 

EDMUND turns his back to GLOUCESTER and makes a showy attempt to conceal the letter.

 

GLOUCESTER

What paper were you reading?

 

EDMUND

It is a letter from my brother. I find it not fit for your o’er-looking.

 

GLOUCESTER

Let’s see, let’s see.

EDMUND hands the letter to GLOUCESTER, who reads from it out loud.

 

“If our father would sleep till I waked him, you should half his revenue for ever, and live the beloved of your brother, EDGAR.” Conspiracy!—O villain, villain! Edmund, seek him out: Find out this villain, Edmund; it shall lose thee nothing; do it carefully.

Exit GLOUCESTER stage left, clutching the letter.

 

EDMUND (crosses to center stage, addressing audience)

This is the excellent foppery of the world, that, when we are sick in fortune,—often the surfeit of our ownbehavior,—we make guilty of our disasters

10 ✴ KING LEAR

 

the sun, the moon, and the stars: I am rough and lecherous. Tut, I should have been that I am, had the maidenliest star in the firmament twinkled on my bastardizing. Edgar—

Enter EDGAR from stage left.

And pat he comes like the catastrophe of the old comedy: (conspiratorially, to audience) my cue is villanous melancholy.

 

EDGAR (approaches EDMUND)

How now, brother Edmund! What serious contemplation are you in?

 

EDMUND (puts his arm around EDGAR)

Come, come; when saw you my father last?

 

EDGAR

Why, the night gone by.

EDMUND

Bethink yourself wherein you may have offended him: and at my entreaty forbear his presence till some little time hath qualified the heat of his displeasure; which at this instant so rageth in him, that with the mischief of your person it would scarcely allay.

EDGAR

Some villain hath done me wrong.

EDMUND

Pray ye, go; there’s my key: (hands EDGAR a key and pats his shoulder reassuringly) if you do stir abroad, go armed.

EDGAR

Armed, brother!

EDMUND

Go armed: I pray you, away.

 

Exit EDGAR stage left.

 

EDMUND (walks downstage center, addressing audience) Let me, if not by birth, have lands by wit: All with me’s meet that I can fashion fit.

Exit EDMUND stage rear.

 

 

 

 

✴ SCENE 3. (ACT I, SCENE IV)

A hall in the same.

Enter NARRATOR from stage right, coming downstage center.

 

NARRATOR

The Earl of Kent returns in disguise, offers his services to King Lear, and is accepted as one of his followers. The Fool lives up to his name!

Exit NARRATOR stage right.

Enter KENT, disguised, from stage left.

Enter FOOL from stage right, unseen by KENT; he lurks behind stage right pillar.

 

KENT

If but as well I other accents borrow, That can my speech defuse,

now, banish’d Kent,

thy master, whom thou lovest, Shall find thee full of labors.

 

KENT crouches by stage right pillar, hunching over to hide his face. The FOOL is behind him, still unseen.

Enter KING LEAR, GONERIL, and ALBANY from stage left.

 

KING LEAR

How now! What art thou?

 

KENT (bows, still hiding his face)

A very honest-hearted fellow, and as poor as the king.

 

KING LEAR

Who wouldst thou serve?

 

KENT

You.

 

KING LEAR

Dost thou know me, fellow?

 

KENT

No, sir; but I can keep honest counsel.

 

KING LEAR

Follow me; thou shalt serve me: Where’s my knave? My fool?

The FOOL appears from behind stage right pillar.

 

FOOL (pulls cap over eyes)

Here’s my coxcomb.

 

KING LEAR

How now, my pretty knave! How dost thou?

The FOOL offers his cap to Kent.

 

FOOL

Sirrah, you were best take my coxcomb.

KENT

Why, fool?

FOOL

Why, for taking one’s part that’s out of favor: why, this fellow has banished two on’s daughters, and did the third ablessing against his will; How now, nuncle! Sirrah, I’ll teach thee a speech.

 

KING LEAR

Do.

 

FOOL

Mark it, nuncle: (with mock wisdom and flourishes)

Have more than thou showest, Speak less than thou knowest, Lend less than thou owest, Ride more than thou goest,

KENT

This is nothing, fool.

FOOL

Can you make no use of nothing, nuncle?

 

KING LEAR

Why, no, boy; nothing can be made out of nothing.

 

FOOL (to KENT)

Prithee, tell him, so much the rent of his land comes to: he will not believe a fool.

 

KING LEAR

A bitter fool!

 

FOOL

Dost thou know the difference, my boy, between a bitter fool and a sweet fool?

 

KING LEAR

No, lad; teach me.

 

FOOL

The sweet and bitter fool Will presently appear; The one in motley here,

The other found out there.

 

KING LEAR

Dost thou call me fool, boy?

 

FOOL

All thy other titles thou hast given away; that thou wast born with. I am a fool, thou art nothing.

Whoop, Jug! I love thee.

 

KING LEAR

Doth any here know me? Who is it that can tell me who I am?

The FOOL steps behind LEAR.

 

FOOL

Lear’s shadow.

GONERIL

As you are old and reverend, you should be wise. Here do you keep a hundred knights and squires; Men so disorder’d, so debosh’d and bold,

That this our court, is more like a tavern or a brothel Than a graced palace. Be then desired

a little to disquantity your train.

 

KING LEAR (to GONERIL)

Darkness and devils!

 

Degenerate bastard! Detested kite! Thou liest. O Lear, Lear, Lear!

Beat at this gate, that let thy folly in, (strikes his head)

And thy dear judgment out! How sharper than a serpent’s tooth it is

To have a thankless child! (to GONERIL)

Life and death! I am ashamed

That thou hast power to shake my manhood thus; Away! Away!

Exit KING LEAR and KENT stage left.

The FOOL sits in the throne, playing as if he is the king.

 

GONERIL (to FOOL)

You, sir, more knave than fool, after your master.

 

FOOL (hurrying after KING LEAR)

Nuncle Lear, nuncle Lear, tarry and take the fool with thee.

Exit FOOL stage left.

 

GONERIL

A hundred knights!

He may enguard his dotage with their powers, And hold our lives in mercy.

 

ALBANY

Well, you may fear too far.

GONERIL

Safer than trust too far:

I know his heart.

I have writ my sister

To inform her full of my particular fear.

 

Exit GONERIL and ALBANY stage left.

Enter FOOL from stage left, tiptoeing. He carries the throne offstage in preparation for the next scene.

 

 

 

 

✴ SCENE 4. (ACT III, SCENE IV)

The heath, before a hovel.

Enter NARRATOR from stage rear, coming downstage center.

 

NARRATOR

Lear, Kent, and the Fool reach the hovel, where they find Edgar disguised as Poor Tom, a madman and beggar. When Gloucester finds them, he leads them to the shelter of a house. It seems as if Lear is not the only one whose sanity is slipping away!

Exit NARRATOR stage right.

Enter KING LEAR, KENT, and the FOOL from stage left.

SOUND OPERATOR plays Sound Cue #3 (“Storm sounds”).

 

KENT (holds onto LEAR, attempting to shelter him from the storm)

Here is the place, my lord; good my lord, enter: The tyranny of the open night’s too rough

For nature to endure.

 

KING LEAR

The body’s delicate: the tempest in my mind Doth from my senses take all feeling else Save what beats there. Filial ingratitude!

O Regan, Goneril!

Your old kind father, whose frank heart gave all,— O, that way madness lies;

No more of that.

KENT

Good my lord, enter here.

 

KING LEAR

Prithee, go in thyself: seek thine own ease:

The FOOL walks behind stage left pillar as if entering the hovel.

This tempest will not give me leave to ponder On things would hurt me more. But I’ll go in.

 

EDGAR (within)

Fathom and half, fathom and half! Poor Tom!

 

FOOL (running out from behind pillar)

Come not in here, nuncle, here’s a spirit Help me, help me!

The FOOL runs to KING LEAR’S side and kneels. KING LEAR, KENT, and the FOOL huddle together, facing the stage left pillar.

 

KENT

Give me thy hand. Who’s there?

FOOL

A spirit, a spirit: he says his name’s Poor Tom.

KENT

Come forth.

 

Enter EDGAR, disguised.

 

EDGAR

Away! The foul fiend follows me!

 

KING LEAR, fascinated by the madman, slowly approaches

EDGAR. The FOOL, circling around stage rear, is also captivated.

 

KING LEAR

Hast thou given all to thy two daughters? And art thou come to this?

 

EDGAR

Who gives any thing to Poor Tom?

Bless thy five wits! Tom’s a-cold,—O, do de, do de, do de.

 

KING LEAR

What, have his daughters brought him to this pass? Couldst thou save nothing? Didst thou give them all?

 

EDGAR

Pillicock sat on Pillicock-hill: Halloo, halloo, loo, loo!

 

EDGAR moves stage right, flapping his arms like wings.

 

FOOL

This cold night will turn us all to fools and madmen.

 

KING LEAR

Is man no more than this? Unaccommodated man is no more but such a poor bare, forked animal as thou art.

 

FOOL (looks stage left)

Look, here comes a walking fire.

Enter GLOUCESTER from stage left, with a torch. He comes to center stage. The men form a line from stage rightto left:

EDGAR, KING LEAR, GLOUCESTER, KENT, and the FOOL.

 

EDGAR

This is the foul fiend Flibbertigibbet.

 

GLOUCESTER

What are you there? Your names?

 

EDGAR

Poor Tom, that in the fury of his heart, swallows the old rat and the ditch-dog; who is whipped from tithing to tithing! (whips himself with his arms)

 

GLOUCESTER

What, hath your grace no better company? Go in with me: my duty cannot suffer

To obey in all your daughters’ hard commands.

KING LEAR resists, moving stage right to converse silently with

EDGAR. He exchanges his crown for EDGAR’S hat.

 

KENT

Importune him once more to go, my lord; His wits begin to unsettle.

 

GLOUCESTER

Canst thou blame him?

His daughters seek his death: ah, that good Kent! He said it would be thus, poor banish’d man!

Thou say’st the king grows mad; I’ll tell thee, friend, I am almost mad myself: I had a son,

Now outlaw’d from my blood; he sought my life, But lately, very late: I loved him, friend,

The grief hath crazed my wits. (motions for all to exit)

 

KING LEAR

O, cry your mercy, sir.

Noble philosopher, your company. Come, good Athenian.

 

GLOUCESTER

No words, no words: hush.

Exit GLOUCESTER stage right, leading KING LEAR off. KENT follows, while EDGAR remains.

 

EDGAR

Child Rowland to the dark tower came, His word was still,—Fie, foh, and fum, I smell the blood of a British man.

 

Exit EDGAR stage right.

STAGEHANDS set bench (for bed), lengthwise, downstage center.

Enter KING LEAR from stage rear. He lies on the bed and falls asleep.

 

 

 

 

✴ SCENE 5. (ACT IV, SCENE VII)

A tent in the French camp.

KING LEAR remains asleep on bed.

Enter NARRATOR from stage rear, coming downstage right.

 

NARRATOR

In the French camp, Lear awakens and is reunited with Cordelia.

Exit NARRATOR stage right.

Enter CORDELIA from stage right. She stands over KING LEAR’S

bedside as he sleeps.

 

CORDELIA

O you kind gods,

Cure this great breach in his abused nature! O my dear father! Restoration hang

Thy medicine on my lips; and let this kiss Repair those violent harms that my two sisters Have in thy reverence made!

 

CORDELIA leans over and kisses her father’s head. He stirs and then sits up, facing out. CORDELIA sits next to him.

 

CORDELIA

He wakes; How does my royal lord? How fares your majesty?

 

KING LEAR

You do me wrong to take me out o’ the grave: Thou art a soul in bliss; but I am bound Upon a wheel of fire, that mine own tears

Do scald like moulten lead. (suddenly looks around, confused)

Where have I been? Where am I? Fair daylight? I am mightily abused.

I will not swear these are my hands.

 

CORDELIA

O, look upon me, sir,

And hold your hands in benediction o’er me:

 

KING LEAR kneels at CORDELIA’S feet, but she helps him to stand.

No, sir, you must not kneel.

 

KING LEAR

Pray, do not mock me:

I am a very foolish fond old man,

And I fear I am not in my perfect mind. Methinks I should know you,

Yet I am doubtful. For, as I am a man, I think this lady To be my child Cordelia.

 

CORDELIA

And so I am, I am. (puts her head on his chest, weeping)

 

KING LEAR

I pray, weep not:

If you have poison for me, I will drink it.

I know you do not love me; for your sisters Have, as I do remember, done me wrong: You have some cause, they have not.

CORDELIA

No cause, no cause.

 

KING LEAR

Do not abuse me.

 

CORDELIA

Will’t please your highness walk?

 

KING LEAR

You must bear with me:

Pray you now, forget and forgive: I am old and foolish.

Exit CORDELIA and KING LEAR stage right, with CORDELIA helping her father walk.

 

 

 

 

✴ SCENE 6. (ACT V, SCENE III)

The British camp near Dover.

Enter NARRATOR from stage rear, coming downstage center.

 

NARRATOR

Edmund sends King Lear and Cordelia to prison and secretly orders their assassinations. Edgar accusesEdmund of treachery. The characters face the consequences of their actions.

Exit NARRATOR stage right.

Enter EDMUND from stage left. Enter KING LEAR, CORDELIA, and

HERALD from stage right.

 

EDMUND (to HERALD, indicating KING LEAR and CORDELIA)

Take them away.

HERALD tries to take CORDELIA, but she shakes him off. KING LEAR

moves between HERALD and CORDELIA.

 

CORDELIA

We are not the first

Who, with best meaning, have incurr’d the worst. For thee, oppressed king, am I cast down;

Myself could else out-frown false fortune’s frown. Shall we not see these daughters and these sisters?

 

KING LEAR (facing CORDELIA)

No, no, no, no! Come, let’s away to prison: We two alone will sing like birds i’ the cage:

KING LEAR kneels, as does CORDELIA, facing him.

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,

as if we were God’s spies.

 

EDMUND

Take them away.

 

HERALD grips KING LEAR and CORDELIA and escorts them offstage left.

Enter GONERIL and REGAN from stage right; they sit on the bench. GONERIL is holding two cups and hands one toREGAN. Both drink.

Enter ALBANY and HERALD from stage left.

 

ALBANY

Stay yet; hear reason. Edmund, I arrest thee On capital treason; and, in thine attaint,

Thou art arm’d, Gloucester: let the trumpet sound: If none appear to prove upon thy head

Thy heinous, manifest, and many treasons, There is my pledge. (throws down a glove)

 

REGAN

Sick, O, sick!

 

REGAN doubles over, dropping her cup.

 

GONERIL (aside to audience)

If not, I’ll ne’er trust medicine.

 

EDMUND

There’s my exchange: (throws down a glove)

what in the world he is

That names me traitor, villain-like he lies.

REGAN

My sickness grows upon me.

ALBANY

She is not well; convey her to my tent.

 

HERALD leads REGAN offstage right. GONERIL follows.

Re-enter HERALD from stage right; he crosses to stage left and faces out, reading from a paper.

 

HERALD

“If any man of quality or degree within the lists of the army will maintain upon Edmund, supposed Earl of Gloucester,that he is a manifold traitor, let him appear.

 

Enter EDGAR from stage right, masked.

EDMUND stands stage left, facing EDGAR.

 

HERALD (to EDGAR)

What are you?

Your name, your quality?

 

EDGAR

Know, my name is lost;

By treason’s tooth bare-gnawn and canker-bit:

 

Yet am I noble as the adversary I come to cope.

What’s he that speaks for Edmund Earl of Gloucester?

 

EDMUND

Himself: what say’st thou to him?

EDGAR

Draw thy sword,

Despite thy victor sword and fire-new fortune, thou art a traitor;

False to thy gods, thy brother, and thy father; A most toad-spotted traitor.

EDMUND

Back do I toss these treasons to thy head; With the hell-hated lie o’erwhelm thy heart;

 

SOUND OPERATOR plays Sound Cue #4 (“Drum beats”).

EDMUND and EDGAR fight. EDMUND falls.

 

EDMUND

What you have charged me with, that have I done; And more, much more; the time will bring it out: ’Tis past, and so am I. But what art thou?

EDGAR

I am no less in blood than thou art, Edmund;

(removes his mask)

My name is Edgar, and thy father’s son.

EDMUND

The wheel is come full circle: I am here.

 

Enter a GENTLEMAN, running in from stage left and holding a bloody knife. He comes center stage.

 

GENTLEMAN

Help, help, O, help!

 

EDGAR

What means that bloody knife?

 

GENTLEMAN

’Tis hot, it smokes;

It came even from the heart of—O, she’s dead!

 

ALBANY

Who dead? Speak, man.

 

GENTLEMAN

Your lady, sir, your lady: and her sister By her is poisoned; she hath confess’d it.

 

ALBANY

Produce their bodies, be they alive or dead:

This judgment of the heavens, that makes us tremble, Touches us not with pity.

 

Exit GENTLEMAN stage right. Enter KENT from stage left.

KENT

I am come

To bid my king and master aye good night: Is he not here?

ALBANY

Great thing of us forgot!

 

Speak, Edmund, where’s the king? And where’s Cordelia?

See’st thou this object, Kent?

Enter two ATTENDANTS, bearing the bodies of GONERIL and

REGAN; the bodies are placed center stage.

 

KENT

Alack, why thus?

EDMUND

Yet Edmund was beloved:

The one the other poison’d for my sake, And after slew herself.

ALBANY

Even so. Cover their faces.

 

ATTENDANTS cover the faces of GONERIL and REGAN with veils.

 

EDMUND

I pant for life: some good I mean to do, Despite of mine own nature. Quickly send, to the castle; for my writ

Is on the life of Lear and on Cordelia.

ALBANY

Run, run, O, run!

 

Exit EDGAR stage left.

 

EDMUND

He hath commission from thy wife and me To hang Cordelia in the prison, and

To lay the blame upon her own despair, That she fordid herself.

 

EDMUND dies.

 

ALBANY

The gods defend her!

 

ATTENDANTS carry EDMUND offstage right.

Re-enter KING LEAR from stage rear with the lifeless CORDELIA in his arms. He lays her down on the bed.

Re-enter EDGAR stage left, a witness to KING LEAR’S mourning.

 

KING LEAR

Howl, howl, howl, howl! O, you are men of stones: Had I your tongues and eyes, I’ld use them so

That heaven’s vault should crack. She’s gone for ever! Lend me a looking-glass;

HERALD hands KING LEAR a small mirror.

If that her breath will mist or stain the stone, Why, then she lives.

 

KENT

Is this the promised end?

 

KING LEAR holds a feather up to CORDELIA’S mouth. The feather does not move, but LEAR imagines it does.

 

KING LEAR

This feather stirs; she lives! If it be so,

It is a chance which does redeem all sorrows That ever I have felt.

 

KENT (kneels before KING LEAR)

O my good master!

 

KING LEAR

Prithee, away.

 

EDGAR

’Tis noble Kent, your friend.

 

KING LEAR

A plague upon you, murderers, traitors all!

I might have saved her; now she’s gone for ever! Cordelia, Cordelia! Stay a little.

I kill’d the slave that was a-hanging thee. I am old now,

And these same crosses spoil me. Who are you? Mine eyes are not o’ the best: I’ll tell you straight.

 

KENT

If fortune brag of two she loved and hated, One of them we behold.

 

KING LEAR

Are you not Kent?

 

KENT

The same,

Your servant Kent.

That, from your first of difference and decay, Have follow’d your sad steps.

 

KING LEAR

You are welcome hither.

 

KENT

Nor no man else: all’s cheerless, dark, and deadly. Your eldest daughters have fordone them selves, And desperately are dead.

 

HERALD checks EDMUND for a pulse, but finds none.

 

HERALD

Edmund is dead, my lord.

 

KING LEAR

And my poor fool is hang’d! No, no, no life! Why should a dog, a horse, a rat, have life,

And thou no breath at all? Thou’lt come no more, Never, never, never, never, never!

Look on her, look, her lips, Look there, look there!

KING LEAR looks up. The others look up, then back to KING LEAR.

(See Performance Notes.)

KING LEAR dies, collapsing to the ground next to CORDELIA.

 

EDGAR (rushes to KING LEAR’S side)

He faints! My lord, my lord!

 

KENT

Break, heart; I prithee, break!

Vex not his ghost: O, let him pass! He hates him much That would upon the rack of this tough world Stretch him out longer.

EDGAR

He is gone, indeed.

KENT

The wonder is, he hath endured so long: He but usurp’d his life.

ALBANY

Bear them from hence. Our present business