"Regan is no less a sympathetic character than Cordelia" In light of this view, analyse this comment taking into account dramatic effect.

by sundayinnit (student)

Regan is no less a sympathetic character than Cordelia.

Despite the immediate clearness of the plot of King Lear, it would be untrue to classify Regan and Cordelia as two characters two dimensional or singularly driven; categorizing Cordelia “benevolent” and Regan as “malevolent” is an interpretation too simple for characters so complex. Indeed, although Cordelia is portrayed as the restorational character and Regan as a destructive one, the proper characteristics, aims and nature of the characters must be explored in order to properly evaluate the degree to which they appear sympathetic. Arguably, although responsible for the actions that they carry out, it would perhaps be most accurate to say that they are victims of their own father, and that their doings and fate throughout the play are potentially unavoidable products of the circumstances they find themselves in due to their treatment by Lear.

It is in the opening scene of the play that the characters of Regan and Cordelia are defined. Upon Lear’s arbitrary, egotistical and wholly unnecessary “love test”, Regan produces a speech of artificial eloquence and superficiality- “I am alone felicitate in your dear highnesses’ love”. Amongst the deceitfulness of Regan, there is however an underlying reason as to why she must feel the need for the expression of such superficiality. Lear establishes his favouritism of Cordelia early in the play- “I loved her most”. Cordelia acts as the ‘spoilt’ youngest child, and Regan, as middle- child, feels repressed and entrapped in the family. Given that the result of the love-test is pre-determined, there is therefore no real reason for it, and the products of the test will be unavoidable jealousy, falsehoods and rivalry. Thus, from a psychoanalytical interpretation of the play, Regan’s deceit can perhaps be excused for the parental tyranny and she had endured. (What is notable from a dramatic point of view is how Judi Dench felt it appropriate to stutter the early lines of Rgean due to this ‘tyranny’.) In Victorian society, women were marginalized and men held a strong sense of power and command over women. Regan’s actions can therefore be seen as a manifestation of the injustices endured by women in this period: to use a basic analogy, while her actions are undeniably cruel, how else is a caged animal supposed to act? Dramatic presentation is also noteworthy- Edmund’s actions are equally malevolent, but the audience are not as shocked by them purely because he is a man. It is, however, certainly questionable whether such endured ‘tyranny’ warrants the formulation of a plan to kill her father- although a result of Lear’s vanity, it is tough to justify her actions on the basis of parental mistreatment, and this aspect of her character should be put down to her personal, malign nature.

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Cordelia’s language throughout the love-test is as rich as her sisters’, but her response is directly paralleled. Cordelia reticently refuses to partake- claiming that she “her love is more ponderous than her tongue”. Cordelia’s unyielding manner and stubbornness can be interpreted in two different ways: namely, a feminist and non-feminist approach. A feminist interpretation of the play alludes to the fact that Cordelia is placed in a misogynistic and patriarchal world, thus Cordelia has essentially little choice but to oppose to the misogyny and authority of Lear. Indeed, the reticence of Cordelia is an embodiment of the prototypical “Shakespearean woman”: absent, silent, or dead. A pamphlet in the year 1558 entitled First Blast of the Trumpet against The Monstrous Regiment of Women argued that giving women any sort of authority was the “subversion of good order”. Cordelia’s decision to break the mould of the dominated, abiding and meek Victorian woman can thus place her in a negative light, and as feminist critic Kathleen McLuskie states, audience sympathy is manipulated to evoke compassion for Lear.

Shakespearean gender relations and familial circumstances are not the sole reason for the creation of familial discord of the play. Cordelia’s stand against hypocrisy and the egotism of Lear can be seen as commendable; however perhaps an inherent flaw is present in the character of Cordelia that contributes to family conflict in the play. Her stubborn, principled nature can by non-feminist critics be seen as a key contributor to disharmony in the play. Indeed, it is during the love-test that a number of contradictions about the character of Cordelia arise. She insists that she cannot express herself adequately- or “heave her heart into her mouth”, yet later in the play she is able to speak against her sisters with perfect eloquence. She emits the impression that she almost has a ‘fear’ of speaking publicly, though her harsh language and scorning of Burgundy (“I shall not be his wife”) - somebody placed on a higher social level than she- does not fit in with such an impression. A.C Bradley’s coining of Cordelia’s fate- something of “tragic imperfection”- is perhaps most appropriate in this case. It is true that she is deeply wronged by Lear in the opening scene, but we cannot assert that she was wholly right in her behaviour. Throughout the play Cordelia is portrayed as religious, almost sanctified character, as she is the epitome of Christian values of mercy, charity and honesty. Indeed, even her language evokes images of sanctity- “Spring with my tears; be radiant and remediate”, juxtaposed against the hellish, brutal language of Regan- “Hang him instantly”. However, the way in which her stubborn nature creates discordance is paradoxically very unsaintly. The audience neither blame nor justify her completely; they simply experience the tragic emotions of pity. Thus, through her tragic imperfection, she contributes something to the conflict. While the tragedy is largely due to Lear’s own fault, it is in no small measure due to a deficiency in Cordelia.

However, despite Cordelia’s ‘flaws’ in her overly-obdurate character, it is key to remind ourselves of, as asserted by feminist critics, how she and Regan were viewed by Lear. Throughout the entirety of the play, other characters refer to Lear’s daughters as “his” daughters, or, when in dialogue with him, “your” daughters. Women are also always referred to second after men, an example being when Kent states “Your son and daughter”. Lear also regards the two daughters as property; as possessions to be disposed of when he sees fit. Applying this theory, it becomes clear that Cordelia and Regan are essentially the same in their status in the eyes of the ‘higher orders’; both are equally supressed women. The fact that, from this equivalent social position, they take different choices and paths is a reflection not of the social situation that they find themselves in, but of their individual disposition. It is from these choices of ‘free-will’ that the audience categorizes the two daughters- Cordelia as restorative and Regan as shockingly maleficent.

It is undeniable that, given her status as ‘evil’ in the play, Regan at first appears less sympathetic than Cordelia. However, the portrayal of Regan and Cordelia runs deeper than mere appearance and status in the restoration of Lear’s authority. It is, in fact, the simple classification of characters as “good” or “bad” in relation to their position to Lear this is central to how the personalities of Regan and Cordelia are evaluated. As McLuskie notes, the play is patriarchal, and focuses centrally and explicitly on the power and fate of Lear. Due to this concentration of the plot on Lear, the audience inevitably feel compassion for him, and thus make a clear differentiation between the ‘bad-’ and ‘goodness’ of Regan and Cordelia. For, when viewing the play not from the perspective of a monarch but from a woman enduring social and parental oppression and favouritism, whilst not validating the actions and nature of Regan, a sense of understanding and sympathy is certainly allowed for.

Thomas Smith