(The story appears in Holinshed,who adds that Cordelia succeeded her father as monarch andwas deposed by the sons of her sisters.)This tale about how actions speak louderthan words had recently been played on the Londonstage in "The True Chronicle ofKing Leir." We have seen the essential story once again inthe Japanese Ran, and more recently inA Thousand Acres, an intelligent feminist tale,with the two older daughters asincest survivors who have spent their lives cajoling a crazy,abusive father and protecting their youngest sister.
When he leaves, Goneril and Reganexpress their understandable concern about hosting a mentally-imbalancedfather and his personal army.King Lear goes to live with Goneril.
"King Lear shows that great force of character is not necessarily wise, rude speech is not necessarily unkind, and madness is in some cases a perfectly reasonable response to intolerable conditions.".
Jessica Penrose is a poet and creative facilitator. She grew up in Scotland, and spent most of her adult life in Yorkshire where she fell in love with the wild, rolling landscape of the Dales. Since 2011 she has been learning to find beauty in the open spaces of Cambridgeshire. Jessica is currently working towards a poetry pamphlet inspired by her fascination with the landscape of the night skies, and with the life of the overlooked 18th century astronomer Caroline Herschel. She has an MA in Writing from Sheffield Hallam University and her poems have been published online and in journals including Ink, Sweat & Tears, Antiphon, The Rialto, Staple, and Mslexia. Jessica is co-director of , which encourages adults to rediscover a sense of wonder and curiosity about the world around them.
Brown --Evangelical and professor of theater, has his thoughts and the full texts of the quartoand folio versions
Watch "King Lear" on video clips:More productions:
Other image clusters in King Lear include clothing / nakedness(are you more yourself with your culture's clothes and the dignity they confer,or naked, owing nothing to anyone?), fortune (is whathappens to us dumb luck, predestined, or whatever?), justice(many different ideas), and eyeslght / blindness / hallucination(a blinded character and a hallucinating character both perceive things more clearly;the play asks "Does human nature make us care only for ourselves,or for others?", our natural eyes may not give us the best answer.)And there's the recurrent theme of nothing.
Michael Astor has developed his farming estate since the 1980s into a diverse rural business, including property lettings, 15,000 sq. ft. of business units, a thoroughbred stable yard, woodland management, 1,200 acres of heavy land arable farming, and a pedigree heard of beef shorthorn cattle, alongside a consideration for sustainability and environmental enhancement for wildlife. In the 1980s Astor became involved in the Cambridgeshire Wildlife Trust, then called CAMBIENT, to try and bridge the gap between conservationists and farmers. He has been involved in various conservation organisations, and since 2004 has chaired the West Cambridge Hundreds group, which combines farmers, landowners, managers and conservation bodies to oversee 20,000 hectares to connect the wildlife hot spots on a landscape level. Astor is an electronics engineer, and has had experience in agricultural engineering research, as well as agricultural education. He is now semi-retired from thirty years working in financial services.
Lear sayshe will return to Goneril, but now she will not even allow 25, andthe daughters re-enact the fairy-tale plot by alternately reducingthe numbers, and asking "Why do you need even one follower, whenwe can care for you ourselves?" Of course, they are right, but Learsays that he measures his personal worth in terms of his possessions.
The only hope forhuman beings is that we can be try to be decent and generouswith one another.Whether or not you agree (and I do not), this deepest message explains for me why the "cosmic" tragedy of King Lear stillspeaks to us so powerfully.
Clem Fisher has been a curator in the Vertebrate Zoology Section of National Museums Liverpool since 1975, having previously worked for the distinguished ornithologist David Snow at the Natural History Museum. Her main research interest is Australian natural history collections 1838–1850, and she is taking up a two-year Leverhulme Trust Research Fellowship to work on the important naturalist John Gilbert. Recently she has assisted many of the artists involved in Ceri Levys “Ghosts of Gone Birds” exhibitions with access to the Liverpool collections. After looking after them for nearly 40 years, many of these extinct birds – the Liverpool Pigeon, Lord Derbys Swamphen and the truly remarkable New Caledonian Goatsucker – are now her personal friends. Clem is also interested in archaeological bone, the Nonsense Poet and animal artist Edward Lear, and the history of Toxteth Deer Park. Off-duty she fights weeds on her allotment by the mighty Mersey, and often stays up far too late watching American baseball on TV.