‘like the catastrophe of an old comedy’ (Act I.2.133)
Here he is making a topical reference to old-fashioned comedy in which, just as Edgar is predictable due to his superstitious belief, the catastrophe was contrived too mechanically, so that the required coincidence was also mechanically too convenient. Edgar has entered here very conveniently so Edmund can talk to him. He also decides that his
‘cue is villainous melancholy’ (Act I.2.134)
as he sees his brother walking towards him suggesting the conversation is going to be a theatrical act. He then goes on to say
‘Oh these eclipses do portend these divisions’ (Act I.2.136)
There is dramatic irony here as the audience know that this belief in prediction of ‘eclipses’ is fake, but Edmund plays on the imagery to convince Edgar that something is wrong. Edmund, here, also imitates Gloucester’s exact words in lines 110-11, which, while reflecting that Edmund is being false, is also mimicking his father,…….. his evil character.
Edmund is the typical Renaissance Machiavellian character in the play who manipulates and plays with the emotions of his relatives using unscrupulous methods to achieve his aims. He perceives the injustice on his treatment as the illegitimate son of Gloucester and feels he does not have to conform to the usual social pressures or expectations, as he was not born into a conventional family. His ‘bastard’ status in which he is
‘twelve or fourteen moonshines /Lag of a brother’ (Act I.2.5-6)
he believes will ‘deprive’ him in the event of his father’s death. However, Edmund believes his unnaturalness in society’s terms to be a strength for him. He does not believe in society’s rules, which condemn him as a ‘bastard’, not allowing him to inheritance. There is, also however, dramatic irony, in the tact that although Edmund is expressing the unfairness of the situation, that he will never be equal to his legitimate brother, we know that Gloucester says Edgar is ‘no dearer in my account’ suggesting that has every intention of accepting responsibility and treating the two brothers as equal sons. Edmund’s bitterness motivates him into a fight for more than equality. He is a ruthless, ambitious person, which drives him to commit his malicious, manipulative behaviour against Edgar, his brother and Gloucester, his father in order to achieve his main aim-to steal the title from his father and abuse the power that goes with it. His unwillingness to accept his social standing reflects his rejection of astronomy, which was very popular in Renaissance period. Ironically Edmund, the unnatural bastard son, turns his back on the more accepted gods and towards ‘nature’ when he himself was conceived illegitimally. Turning himself into a slave to nature allows us to see his bitterness through his repetition of ‘base’ and ‘bastardy’, which he uses to describe himself as he thinks this is how he is seen. Shakespeare uses this. to emphasise Edmund’s unnaturalness, as in the Renaissance period it would have been unusual to not believe in astronomy, he would have been seen as social outcast therefore linking Edmund and his actions with disharmony. Edmund is portrayed as an evil character typical ‘villain’ of the play.
Shakespeare explores the theme of self-discovery and rebirth through the main character King Lear. King Lear is on his own ‘wheel of fortune’ going forward towards his death. Lear is on his own individual wheel whereas Edgar and Gloucester see themselves under the great Cosmos. His personal tragedy is very individualistic. This pagan idea was the basis of life for people in renaissance. Using circle imagery, Lear is able to describe his odyssey towards the end of the play as
But I am bound/Upon a wheel of fire, that mine own tears/Do scald like
molten lead.(IV.7.45-48)
these lines indicate that Lear is a figure of pathos and relentless suffering. The ‘wheel of fire’ describes his own personal, hellish journey of self-discovery surviving the rejection of Regan and Gonerill, and the ensuing madness, to a complete transformation gaining insight into his own self. The ‘wheel if fire’ was a common apocryphal appurtenance of Christian hell as is ‘molten lead’. But in the modern era the images could be interpreted as expressions of the psychological torments of guilt. The statement may indicate that he has realised how irrational he has been he can see the hurt he has caused to Cordelia and now feels guilty. This is all part of Lear’s self-discovery. For Lear, the wheel had to move forward for it and him to move towards his destiny. The ‘wheel’ has been used to represent the circle in which Lear travels mentally and physically. The ‘fire’ suggests Lear’s journey was hell not only for him but other characters such as Kent Gloucester and Cordelia also see what he is experiencing and are all metaphorically bound to the same wheel through their loyalty for Lear. For example, Gloucester grows suicidal and remains thus until Act V.2 as he attempts to jump off the cliffs of Dover. He expresses great pity for Lear and himself in Act IV. 6;
‘The king is mad; how stiff is my vile sense/That I stand and have ingenious feeling/Of my huge sorrows!’ (Act IV.6.278-80)
This shows us that he has suffered through the king, which supports the idea that the characters mirror each other. Gloucester is also genuinely concerned about the dangers the old man and Poor Tom face when helping Lear. He says to the men
‘Yet have I ventured to come seek you out/And bring you where both fire and food is ready’ (Act.III.4.45-46)
We can see his loyalty here as he goes against Regan’s and Gonerill’s command by going to help Lear. Kent is a symbol of the hierarchy which Lear casts off during the first scene as he can be seen as a conservative and backward looking figure due to his determination to address Lear as ‘my lord’ and ‘my liege’ throughout the play. He suffers punishment stoically in Act II as a direct result of Lear, and out in the storm he only thinks of his master’s comfort. Gloucester Kent and Cordelia all belong to Lear’s ‘wheel of fortune’ which contains Lear’s ‘wheel of fire’. Their actions all revolve around Lear and Lear’s behaviour affects their own fate.
Each time the wheel turns for Lear discovers something new about himself. For example, Lear frees himself from social etiquette by tearing off his clothes. He realises that an
‘Unaccommodated man is no/more but such a poor, bare, forked animal that thou art’ (Act III.4.103-4)
showing us he has released himself from all his material gains believing himself to be a better man for it. The ‘poor, bare, forked animal’ is referring to Poor Tom, Lear is aiming to reduce himself to identify with Poor Tom. ‘Unaccommodated’ means unfurnished or unsupported by a well-fitting environment. Lear also realises that his daughters have treated him unfairly and describes himself as ‘discarded’ by Regan and Gonerill. Only then is he able to think of others. This is shown during the storm scene, when he is caring towards the Fool by saying
‘In, boy, go first. -You houseless poverty’ (Act III.4.26)
This character development shows us how considerate Lear has become considerate towards others, rather then thinking about himself. But Lear has only become more compassionate after being on the receiving end of Regan and Gonerill’s behaviour, which is linked back to the ‘wheel of fire’. Self-realisation is only gained through Lear’ suffering. The irony here is that Lear is thinking selflessly. He, himself is a ‘houseless poverty’. He has given all his assets away.
Another way in which cosmic imagery is used to emphasise Lear’s over reaction by using natural and cosmic occurrences reaction leading him to disown Cordelia because she cannot express her love for him in words.
‘For by the sacred radiance if the sun/The mysteries of Hecat and the night,
By all operations of the orbs/From whom we do exist, and cease to be,
Here I disclaim all my paternal care,’ (Act I.109-113)
The ‘operation of the orbs’ indicates to the audience that fate has played a part in Lear disowning Cordelia whether it be Lear’s natural personality or her destiny. There is irony here as ‘Hecat’; referring to ‘Hecate'-meaning moon; but ‘mysteries of Hecat and night’ suggest the ‘Hecat’ which presides over witchcraft. The link here with witchcraft suggests the effects of his actions will be disastrous. The use of imagery makes the belief that fate and destiny are natural to the characters emphasising the normality in believing in astrology and fate. Thus creating a contrast greatly with Edmund's views on astronomical energies making him seem more outcast.
Lear realises towards the end, that he is not immune to fate and bad events. He cannot escape the wheel or break it. This is shown when he claims
‘No rescue? What, a prisoner? I am even/ The natural fool of fortune’ (Act IV.6.191-2)
Lear realises that fate is against him. However, in this case this statement is not true. He says this when he sees the Gentlemen, sent by Cordelia, to save him, but Lear mistakes him for one of Edmund's men thinking that he is going to be kidnapped. Ironically, even though his panic is not needed here, his comment is ultimately true in the end. A ‘natural fool’ suggests that he is a fool by nature and Lear has finally realised that as a King he is not immune and cannot escape his ‘wheel of fortune’ as he thought he once was. In the Renaissance this was a popular idea to explore. A play was written about a man trying to break his circle called ....by… This idea links in with Lear being ‘bound’ to the ‘wheel of fortune’. ‘Bound’ suggests he is forced against his will but realised it must be done in order to turn the wheel and gain insight into his behaviour and move forwards or round the circle towards his destiny.
Gloucester, Edmund and the Fool use circle imagery to help move the plot toward the final climax conveying to the audience a sense of fate and destiny. Kent asks
‘Fortune, good night; smile once more; turn thy wheel’ (Act II.2.171)
Kent has just received good news in a letter from Cordelia, therefore asking ‘fortune’ to smile once more. Asking fortune to bring about a good result has a positive effect on the audience, which contrasts with the situation, that Kent is in. Kent could be referring to his own fortune as he has ended up in the stocks for defending Lear or Lear’s fortune as Kent is very loyal to Lear, showing us that Kent’s loyalty to Lear is poignant. Kent bids ‘fortune…good night’, which is an effective ending to the scene as it emphasises a closing, ‘turn thy wheel’ signifies the opening of another and the moving onto the next phase of the journey, which fits in with the idea that life and this plot moves round in circles... The wheel is a never-ending circle, moving towards a destination. In this case, Kent is referring to the build up before the confrontation between France and England.
The notion of the wheel is also used by the Fool. Always full of paradoxical riddles, the fool uses the wheel to give common sense advice to those involved with Lear. The Fool says
‘Let go thy hold when the great wheel runs down/A hill, lest it break thy neck with following.’ (Act II.4.69-70)
suggesting to the audience that something bad has started and only a fool would stay with the ‘great wheel’. ‘Down a hill’ emphasises how out of control the wheel is, gathering speed until it finally hits the bottom. ‘Let go’ is a caution from the Fool, suggesting it is sensible to leave it and let it run its course. If you don’t let it go then you will’ break thy neck with following’ indicating it is something that will endanger, which in the end proves to be true. Ironically he doesn’t ‘let go’ himself and eventually disappears from the stage.
The Fool is a symbol of reason amongst the symptoms of Lear’s madness. He is also insightful and always commenting on the future, predicting outcomes based on things he witnesses before him. He is perceptively says
‘Follow the great on that goes upward. Let him follow draw thee after’ (Act II.4.71)
‘Upward’ suggests slow and controlled struggle towards the top. This links with the climbing of a mountain is a symbol of searching for the truth. Uphill also emphasises strength of characters, labouring together. The idea of ‘uphill’ and ‘downhill’ also reminds the audience of heaven and hell relating each according to struggling upwards and falling down and also the ‘wheel of fortune’- a person works towards the top in which the peak is reached then there is downfall after. Lear must experience different things before moving forward towards his peak, which will eventually lead him to learn from his actions but his fortune will either climb ‘upwards’ or run ‘downhill’ like the wheel the Fool uses in his advice.
Shakespeare uses this image of the ‘great wheel’ to explain the situations when they go beyond control of humans and kings. They have to be ‘let go’ to run their own course suggesting ultimately that the events are going to happen and you can’t stop them.
The wheel imagery is also powerful in the final scene with all the remaining characters present, emphasising the amalgamation of the main and sub-plots. When Edgar talks about poetic justice and how ‘The gods are just’ Edmund dramatically professes
‘Tis true/The wheel is come a full circle. I am here.’ (Act V.3.174)
Edmund picks up Edgar’s point about poetic justice of destiny, and applies it to himself. He made Edgar his enemy, he embraced force and deceit as methods; and now the disguised Edgar has conquered him by force. He alleged that Edgar had wounded him by sword. Now he is stopped by the same method that started his career. This denouement brings Edgar and other characters from concealment.
Edmund confesses all in his last minutes alive. Both Edmund and Lear go through a transformation in their personalities and show regret for their previous actions. Edmund is direct and honest for the first time because he has realised his ‘good’ brother has prevailed and he has lost. Lear realises that his actions were ruthless, callous and materialistic towards Cordelia and gains insight into his other two daughters, Regan and Gonerill but the main consequences of his own actions, he realises, is Cordelia’s death. Shakespeare has linked the ending with the idea of circles, personal journeys and cycles. Lear and Edmund had to go through a period of mistakes and events for them to go round their personal ‘wheel of fortunes’ in order to reach these realisations. Edmund recognises the ‘wheel’ theory, it suggests that he is in the same position he was at the beginning which may not seem true due to numerous deaths, but Edmund is in the same position, he is still in a disadvantaged position when compared to his brother. His own wheel has turned and is coming to an end, similar to Lear. The sub-plot and main plot are also pulled together by Edmund's words. He was included in the main and sub-plot as a symbol of evil. Edmund’s own personal wheel of fortune is evident at the end. He sent guards to kill Lear and Cordelia and confessed this while he himself was dying. ‘Unnatural’ Edmund has ultimately destroyed lives in both plots. Lear and Edmund both escape the ‘wheel’ the only way they can-by death.
The final example of the plot moving in circles is the end reflective reference to the beginning and the causes of the events and the deaths. Edgar, one of the survivors of the battle, reflects on what they have learnt from this episode, that we should
‘Speak what we feel and not what we ought to say’ (Act V.3.322)
This takes the audience back to the very start of the play where Lear ordered his daughters to put their love for him into words. Edgar has realised that the conclusions that can be learnt by looking at what started it all, highlighting the fact that the plot structure has moved round in a circle back to the start. The focus on Albany and Edgar, the two good men at the end, leaves the audience with a sense of optimism for the future. However, the pain and sorrow remains in this scene, even though the causes of evil have been destroyed and Albany and Edgar insist on justice and so the spheres seem once more aligned.
Shakespeare uses cosmic imagery mainly to emphasise what is natural and unnatural to the characters in the play and how this affects their actions. In the context of the time, this is justifiable, as astrology, the harmony of spheres and the wheel of fortune were the basis of life along with the question of what was unnatural and natural of all life in renaissance. This play also focuses on how people see themselves in their world, Lear’s tragedy remained individualistic on his own wheel of fortune, his actions affected everybody else’s. Edmund’s refused to accept this pagan idea until the last scene in which hr realised that he was the root of all evil in the play, the devastating effects of his own actions came into play in the final scene. Both Edmund and Lear thought that they could control their own destiny. Gloucester and Edgar saw themselves under the huge cosmos of spheres and the alignment of planets controlled mankind. Lear and other characters use cosmic imagery regularly to emphasise the points they are making reinforcing the normality of the use, thus making Edmund stand out. The ‘wheel of fortune’ is used to explain why the characters and the plot develop and give the audience a sense of forthcoming events and impending doom. Life goes round in a continuous circle, which the characters cannot escape no matter how powerful they are, death is the only escape. All the characters must move forward even if the results are tragic; they are only consequences of their own actions, therefore human judgement still remains faulty. Lear never fully learnt his lesson. He still remained individualistic by obsessing over Gonerill and Regan’s injustice to him, right to the very end; he was selfish in his personal tragedy. Human nature still prevails, all men must fall according to the ‘wheel of fortune’.
