Cordelia frequently understates her honesty and true affections. Some parts of the play, where other characters are not meant to be able to hear, the audience gains a view into her thoughts, similar to the true voices of Goneril and Regan we meet at the end of scene 1. Her response "Nothing" echoes these moments instead of disguising them and illustrates to the reader how Cordelia as a character is stripped of pretense. The idea is echoed literally and symbolically in Lear's comment of scene 4, "Nothing can be made out of nothing" (I.ine126). In the very same scene that Lear admits he has overreacted toward Cordelia, though only at this point acknowledging that Goneril's offense is greater, he becomes aware that truth and sincerity cannot be represented by pretending. Regardless of how well Lear has been fooled by his older daughters, he allows the Fool to counteract his elderly need for praise and love. His singing to Lear illustrates further the use of language and the presentation of language which Shakespeare presents to distinguish between different characters' qualities or the different intentions of single characters.
King Lear is a parable, presented with symbolic figures and actions toward a predicted and infamous end. Suspension of disbelief must be acted on a level as many readers are moved to question Lear's decision making and early blindness toward truth. Lear has started to regress toward dementia and old age. We know by Kent and Gloucester's loyalty toward him, that he had once been more reasonable. Lear committed a fatal and selfish human error which cannot be mended without the journey and transformation he must undergo.
Blindness is one of the most frequently employed metaphors in King Lear. Blindness will become a physical problem for Gloucester later in the play, but its weight is used to foreshadow and heighten this development. Lear is blind to his two oldest daughters from the first moment we meet him. However, unlike the implication that he was once a more noble man since he has the support of the sub characters, Kent and Gloucester, we are not given the impression that he ever knew well enough to previously suspect Goneril or Regan of dishonesty. They have obviously shown their true colors at some point before though since Cordelia responds in such a manner to alert us that she will not sink as low as her sisters will. For instance, she comments, "A still-soliciting eye, and such a tongue that I am glad I have not, though not to have it hath lost me in your liking" (Line 231-233).
Therefore, although Lear has obviously favored Cordelia, he has been blind to the ungratefulness of his two other daughters and is foolish enough to trust them with his livelihood after more foolishly disinheriting Cordelia and exiling Kent. A good example of this is presented in the very first scene. Lear cries to Kent, "Out of my sight!" to which Kent replies, "See better, Lear, and let me still remain the true blank of thine eye" (Line 158-159). He wishes to be allowed to remain the one who could center Lear's focus. Yet even when Kent reenters the play disguised, he cannot alter the course that Lear has begun. Lear becomes increasingly blind to the truth around him. Sight, or the lack of it, is referenced a few scenes later more explicitly when Lear himself notices that he has lost sight of what is important. He cries, "Does any here know me? This is not Lear./ Does Lear walk thus? speak thus? Where are his eyes?" (I.iv.216-217). Kent cannot become his eyes as the tragic plot and subplot move toward blindness and disillusion.
Gloucester directly separates his sons as legitimate and illegitimate and mentions it frequently. He also notes that he sent Edmund away, likely because of his illegitimacy, for a long period of time and plans to do so again. Stripped of property and title, one is less surprised by Edmund's move to undo his destiny. However, Shakespeare creates in the characters of Edgar and Gloucester hearts which seem honorable and trusting, making Edmund's plot to betray them more disgusting. Note that Gloucester immediately believes the letter which Edmund shows him, not at once questioning Edmund's honesty although it would be doubtful that Gloucester had any previous reason to suspect or distrust Edgar. Similarly, Edgar immediately believes Edmund when he tells him he should worry about his safety and his relationship with his father. The audience gains from these interactions that Edmund has done nothing in the past to arouse suspicion. Instead it seems that he has been waiting patiently to upset the balance and now hurries to do so when threatened with further military service.
When analyzing the first act we must explore the character flaws and relationship developments. The demise of the father's position through betrayal by his own children was considered to be one of the cruelest, harshest offenses imaginable. This reflection of plot, for which the seeds are planted in Act I, magnifies the horrors of the tragedy. In this manner, blindness is one of the main symbolic and physical elements through which Shakespeare describes the horrors of ingratitude, insincerity, and hypocrisy.
Goneril is represented to the audience as one of the most evil participants in the crimes taking place. This character description is illustrated through the contrast Shakespeare establishes between her and her husband. Here, Goneril also yearns for power but does not feel the need to aim indirectly for it. Albany is basically told to stay out of her way as he is too weak to know what is best. She places more trust in her servant Oswald, it seems, as she sends him off to run her important letter to Regan whereas she pushes Albany off to the side. She manipulates how her sister will act and the manner in which they will strip Lear of his property and authority. The stories she creates of Lear's riotous knights and so on are supported by nothing in Shakespeare's text. The characters in Lear's train who speak to him are well behaved, polite, and honorable. They try to protect him and Lear himself is shown well when he places the blame for Goneril's coldness on himself instead of her and her household. Therefore we exit the first Act with the knowledge of Cordelia's goodness, Lear's previous goodness and impending madness, Fool's truth telling, Edmund's plotting, and Goneril's evil.
