Act One Scene One
Through the use of dialogue an audience is able to recognise the love Lear holds for Cordelia and how this plays a significant role in determining the fate of all involved.
Cordelia and Lear’s relationship appears quite strong up until Lear’s rejection of Cordelia’s love. Cordelia simply states that she loves her father no more than she should, yet this is not what Lear expected to hear.
"Fairest Cordelia, that art most rich, being poor;
Most choice, forsaken; and most loved, despised!"
Act One Scene One
The use of hyperbole accentuates how quickly Lear’s opinion of Cordelia can be influenced when his expectations are not fulfilled. This action of Lear’s contributes immensely to the ultimate downfall of his family, his sanity and his life.
Lear’s relationship with his other two daughters, Goneril and Regan, is also of high importance throughout the play. Within the written version of King Lear, Goneril and Regan’s intentions in declaring their love for their father seem quite genuine.
“Sir, I love you more than words can wield the matter…..
A love that makes breath poor, and speech unable;
Beyond all manner of so much I love you.”
Act One Scene One
The use of metaphor acknowledges what appears to be Goneril’s and Regan’s pure love for their father, but in fact, initiates the opposite. Lear’s action in dividing his kingdom amongst the two of his daughters was his ultimate mistake in losing all of his control and power.
Representing the subplot of King Lear is Gloucester and his relationship with his sons, Edmond and Edgar. This contributes to the comparison between Lear and Gloucester’s relationships with their children and the end result of their actions. Gloucester values Edgar as his legitimate son, his worthy cause. It is because of this that Edmond, his bastard son, forms a plot for revenge against his father.
“And my invention thrive, Edmund the base
Shall top the legitimate. I grow; I prosper:
Now, gods, stand up for bastards!”
Act One Scene Two
The use of instructional language is effective in accentuating Edmund’s influence over his father. Edmund’s determination in gaining revenge is quite powerful, with him stopping at nothing to receive what he believes he rightfully deserves. Gloucester’s willingness to believe Edmund over Edgar is uncanny. It is ironic how when able to see physically what the situation is, Gloucester is blinded to the truth, but when Gloucester is blinded, his insight expands and he finally ‘sees’ where he went wrong. It is because of his mistrusting in Edmund that all family relationships within the family were manipulated and destroyed.
The 1990s Richard Eyre production of King Lear focuses on the same family relationships as the written form. Interpretation of these relationships is shifted slightly. This is evident in Lear and Cordelia’s relationship. The positioning of characters seated at the dinner table in the opening scene is quite significant in the portrayal of Lear’s favouritism of Cordelia. Lear is seated at one end of the table as the King, with Cordelia at the other head, suggesting the title of the Queen. This can either be symbolic of Lear’s love for Cordelia, or a story of destiny. Cordelia’s position at the dinner table may represent what is to occur throughout the play. Lear remains closer to his other daughters, pushing Cordelia away, as is shown at the dinner table. This act leads to the betrayal of Regan and Goneril, and the eventual downfall of Lear himself.
Lear’s relationship with his two other daughters is represented in a different manner throughout the Eyre production. Within the written text Lear seems to see Goneril and Regan as ‘back-up’ daughters against Cordelia. Within the Eyre production Lear appears to have pure love for all three daughters. This is shown by the way he responds to each daughter’s declaration of love. Whilst one daughter speaks, his body is wrapped around the other, portraying what seems to be a genuine feeling of a strong, family relationship. This quickly changes when Cordelia refuses to give in to Lear’s expectations. This action of hers affects Lear’s relationship with each daughter as he can no longer appreciate what each has to offer. Goneril and Regan appear to take offence to Lear’s change in heart, hence why they reject Lear’s presence in their homes, which leads to the breaking of family bonds between Goneril, Regan and Lear.
Gloucester’s relationship with his sons is both similar and indifferent throughout the Eyre production in comparison to the written form. Edmund’s influence over his father does not seem as effective throughout the Eyre production as it does in the written text. The written text uses multiple linguistic devices in the portrayal of Edmund’s revenge over his father, whereas the Eyre production appears to focus more on the internal power Edmund holds over himself. This is shown through the use of close-up camera shots and different camera angles. Gloucester does not seem at all interested in Edgar’s life or in Edgar as a person. This is shown through the lack of excitement in Gloucester’s facial expression and body language when talking about his legitimate son. This is significantly different in comparison to the written version of King Lear, and highlights the initial bonds held between father and sons. As these bonds seem relatively weak to begin with, it is strange to see the effect that Edmund’s actions against Edgar, hold over his father.
One action made by one person affects each reaction made by each character throughout an entire play. This is evident within both the written form of King Lear and the Richard Eyre production, as each family is affected by a single line of continuous actions made by multiple characters. Through the utilization of different devices, such as symbolism, hyperbole, instructional language, and positioning, within a text, a responder is able to acknowledge and recognise the effect that each has had on the portrayal of family relationships. Some are more effective than others, bringing about different ideas and possibilities as to why a character has responded to an event in a certain way. The basis of King Lear and the family relations existing within it, changes with each portrayal of the play. This can be misinterpreted if not effectively conveyed to an audience, and can affect the way in which family relationships are seen throughout the play.
