In Scene 2 of Act 3, Shakespeare
gives us the image of what King Lear has become now that he has been basically
kicked out by both of the daughters that he didn't disown as long as he intends on keeping his
knights. I’m going to skip over the fact that that was the condition of him
giving them the land in the first place and stick mainly to Lear himself as
well as the Fool. The image that Shakespeare gives us in this Scene is one of a
man who has become undone. He is talking to nature, appearing to try and
convince it to conjure up a storm as the Fool tries to calm him down and get
him to go inside.
The part that really strikes me is
when Kent enters the scene and asks who is there, and the Fool replies: “Marry,
here’s grace and a cod-piece; that’s a wise man and a fool” (3.2.38-39). Now,
he never specifies which is supposed to be which, but the irony that is
supposed to be taken is that he is inferring that the King has now become the
fool, where he is the wise man. The King is supposed to be the wisest among the
land, he is the one that is supposed to rule fairly and justly and therefore he
must be knowledgeable, but we have seen King Lear to be anything but. It is
this relationship between them, that one is the fool while the other is wise at
all times, that is interesting and catches my attention at the least.
The relationship between the King and the Fool is something
that has always been interesting for me to read about and watch, no matter how
many times I read or see this play. There is an interesting dynamic between
them that is hard to ignore. For the start, the Fool is allowed to tell him the
truth, such as the fact that he is being foolish, without getting banished or
punished as others (such as Cordelia who dared tell him the truth that she
loved him just as much as she should). The King also, in this scene, before
Kent shows is seen to be alone with the Fool, though he is not listening to the
Fool’s council it is almost as if he is taking the Fool as his only advisor,
making him truly the Fool as the Fool states. Within the pair of them, one must
always be the fool and one must always be the wise man, it appears. And King
Lear rarely appears wise in his decisions (he gives the kingdom to the two
daughters who kick him out and refuse him the conditions that came along with
them getting the land and disowned the only daughter who didn’t just flatter
him for the land) so where does that leave the Fool?
Perhaps it is as the gentleman says when Kent speaks to him:
“None but the fool, who labors to out-jest/His heart-struck injuries.”
(3.1.16-17). That the Fool is merely trying to cheer up the King, but when
seeing the conversation it appears more like the Fool trying to be a good
council to the King, to take up the role of wise man now that the King has
abandoned it to yell at the storm. And it is King Lear’s yelling at the storm
that either makes him appear the fool, or at the very least mad. The Fool
attempts to steer him inside, out of the storm, and even Kent mentions that not
even night wanderers would be outside. He appears to be the one giving all the
advice here, but King Lear just wants to cause the skies to cast his revenge
instead.
2 comments:
Who is the fool and who is the king? I completely agree that there is something different in regards to the relationship between the King and the fool. In some instances I think that there is a backhanded comment that Shakespeare might want to pose to the audience. During his time period the monarchy was chosen based on a Divine understanding that they are supposed to rule. Perhaps there were some uneasy feelings regarding this normality. Perhaps Shakespeare thought that those who have been chosen to rule are not the ones most qualified to do such?
This is a nice reflection on the discourse of "foolishness" that touches not only upon the character of the Fool, but Lear and others, too. When Lear refers to Cordelia at the play as his "poor fool," (a line that some take to be reference to the Fool character) he draws on this discourse, reminding us perhaps of the opening of the play, but also of this idea that the play runs through with various kinds of "fools."
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