The Complete Works of Leo Tolstoy (25+ Works with active table of contents) (550 page)

The seventh scene of the fourth act takes place in a tent in the French camp. Lear is asleep on a bed. Enter Cordelia and Kent, still in disguise. Lear is awakened by the music, and, seeing Cordelia, does not believe she is a living being, thinks she is an apparition, does not believe that he himself is alive. Cordelia assures him that she is his daughter, and begs him to bless her. He falls on his knees before her, begs her pardon, acknowledges that he is as old and foolish, says he is ready to take poison, which he thinks she has probably prepared for him, as he is persuaded she must hate him. ("For your sisters," he says, "have done me wrong: you have some cause, they have not.") Then he gradually comes to his senses and ceases to rave. His daughter suggests that he should take a walk. He consents and says: "You must bear with me. Pray you now forget and forgive: I am old and foolish." They depart. The gentleman and Kent, remaining on the scene, hold a conversation which explains to the spectator that Edmund is at the head of the troops and that a battle must soon begin between Lear's defenders and his enemies. So the fourth act closes.

In this fourth act, the scene between Lear and his daughter might have been touching if it had not been preceded in the course of the earlier acts by the tediously drawn out, monotonous ravings of Lear, and if, moreover, this expression of his feelings constituted the last scene. But the scene is not the last.

In the fifth act, the former coldly pompous, artificial ravings of Lear go on again, destroying the impression which the previous scene might have produced.

The first scene of the fifth act at first represents Edmund and Regan; the latter is jealous of her sister and makes an offer. Then come Goneril, her husband, and some soldiers. The Duke of Albany, altho pitying Lear, regards it as his duty to fight with the French who have invaded his country, and so he prepares for battle.

Then Edgar enters, still disguised, and hands to the Duke of Albany the letter he had received from Goneril's dying steward, and tells him if he gains the victory to sound the trumpet, saying that he can produce a champion who will confirm the contents of the letter.

In the second scene, Edgar enters leading his father Gloucester, seats him by a tree, and goes away himself. The noise of battle is heard, Edgar runs back and says that the battle is lost and Lear and Cordelia are prisoners. Gloucester again falls into despair. Edgar, still without disclosing himself to his father, counsels endurance, and Gloucester immediately agrees with him.

The third scene opens with a triumphal progress of the victor Edmund. Lear and Cordelia are prisoners. Lear, altho no longer insane, continues to utter the same senseless, inappropriate words, as, for example, that in prison he will sing with Cordelia, she will ask his blessing, and he will kneel down (this process of kneeling down is repeated three times) and will ask her forgiveness. And he further says that, while they are living in prison, they will wear out "packs and sects of great ones"; that he and Cordelia are sacrifices upon which the gods will throw incense, and that he that parts them "shall bring a brand from heaven and fire them like foxes; that he will not weep, and that the plague shall sooner devour his eyes, flesh and fell, than they shall make them weep."

Edmund orders Lear and his daughter to be led away to prison, and, having called the officer to do this, says he requires another duty and asks him whether he'll do it? The captain says he can not draw a cart nor eat dried oats, but if it be men's work he can do it. Enter the Duke of Albany, Goneril, and Regan. The Duke of Albany wishes to champion Lear, but Edmund does not allow it. The daughters take part in the dialog and begin to abuse each other, being jealous of Edmund. Here everything becomes so confused that it is difficult to follow the action. The Duke of Albany wishes to arrest Edmund, and tells Regan that Edmund has long ago entered into guilty relations with his wife, and that, therefore, Regan must give up her claims on Edmund, and if she wishes to marry, should marry him, the Duke of Albany.

Having said this, the Duke of Albany calls Edmund, orders the trumpet to be sounded, saying that, if no one appears, he will fight him himself.

Here Regan, whom Goneril has evidently poisoned, falls deadly sick. Trumpets are sounded and Edgar enters with a vizor concealing his face, and, without giving his name, challenges Edmund. Edgar abuses Edmund; Edmund throws all the abuses back on Edgar's head. They fight and Edmund falls. Goneril is in despair. The Duke of Albany shows Goneril her letter. Goneril departs.

The dying Edmund discovers that his opponent was his brother. Edgar raises his vizor and pronounces a moral lesson to the effect that, having begotten his illegitimate son Edmund, the father has paid for it with his eyesight. After this Edgar tells the Duke of Albany his adventures and how he has only just now, before entering on the recent combat, disclosed everything to his father, and the father could not bear it and died from emotion. Edmund is not yet dead, and wants to know all that has taken place.

Then Edgar relates that, while he was sitting over his father's body, a man came and closely embraced him, and, shouting as loudly as if he wished to burst heaven, threw himself on the body of Edgar's father, and told the most piteous tale about Lear and himself, and that while relating this the strings of life began to crack, but at this moment the trumpet sounded twice and Edgar left him "tranced"--and this was Kent.

Edgar has hardly finished this narrative when a gentleman rushes in with a bloody knife, shouting "Help!" In answer to the question, "Who is killed?" the gentleman says that Goneril has been killed, having poisoned her sister, she has confessed it.

Enters Kent, and at this moment the corpses of Goneril and Regan are brought in. Edmund here says that the sisters evidently loved him, as one has poisoned the other for his sake, and then slain herself. At the same time he confesses that he had given orders to kill Lear and to hang Cordelia in prison, and pretend that she had taken her own life; but now he wishes to prevent these deeds, and having said this he dies, and is carried away.

After this enters Lear with the dead Cordelia in his arms, altho he is more than eighty years old and ill. Again begins Lear's awful ravings, at which one feels ashamed as at unsuccessful jokes. Lear demands that all should howl, and, alternately, believes that Cordelia is dead and that she is alive.

"Had I your tongues and eyes," he says "I'd use them so that heaven's vault should crack."

Then he says that he killed the slave who hanged Cordelia. Next he says that his eyes see badly, but at the same time he recognizes Kent whom all along he had not recognized.

The Duke of Albany says that he will resign during the life of Lear and that he will reward Edgar and Kent and all who have been faithful to him. At this moment the news is brought that Edmund is dead, and Lear, continuing his ravings, begs that they will undo one of his buttons--the same request which he had made when roaming about the heath. He expresses his thanks for this, tells everyone to look at something, and thereupon dies.

In conclusion, the Duke of Albany, having survived the others, says:

"The weight of this sad time we must obey; Speak what we feel, not what we ought to say. The oldest hath borne most: we that are young Shall never see so much, nor live so long."

All depart to the music of a dead march. Thus ends the fifth act and the drama.

III

Such is this celebrated drama. However absurd it may appear in my rendering (which I have endeavored to make as impartial as possible), I may confidently say that in the original it is yet more absurd. For any man of our time--if he were not under the hypnotic suggestion that this drama is the height of perfection--it would be enough to read it to its end (were he to have sufficient patience for this) to be convinced that far from being the height of perfection, it is a very bad, carelessly composed production, which, if it could have been of interest to a certain public at a certain time, can not evoke among us anything but aversion and weariness. Every reader of our time, who is free from the influence of suggestion, will also receive exactly the same impression from all the other extolled dramas of Shakespeare, not to mention the senseless, dramatized tales, "Pericles," "Twelfth Night," "The Tempest," "Cymbeline," "Troilus and Cressida."

But such free-minded individuals, not inoculated with Shakespeare-worship, are no longer to be found in our Christian society. Every man of our society and time, from the first period of his conscious life, has been inoculated with the idea that Shakespeare is a genius, a poet, and a dramatist, and that all his writings are the height of perfection. Yet, however hopeless it may seem, I will endeavor to demonstrate in the selected drama--"King Lear"--all those faults equally characteristic also of all the other tragedies and comedies of Shakespeare, on account of which he not only is not representing a model of dramatic art, but does not satisfy the most elementary demands of art recognized by all.

Dramatic art, according to the laws established by those very critics who extol Shakespeare, demands that the persons represented in the play should be, in consequence of actions proper to their characters, and owing to a natural course of events, placed in positions requiring them to struggle with the surrounding world to which they find themselves in opposition, and in this struggle should display their inherent qualities.

In "King Lear" the persons represented are indeed placed externally in opposition to the outward world, and they struggle with it. But their strife does not flow from the natural course of events nor from their own characters, but is quite arbitrarily established by the author, and therefore can not produce on the reader the illusion which represents the essential condition of art.

Lear has no necessity or motive for his abdication; also, having lived all his life with his daughters, has no reason to believe the words of the two elders and not the truthful statement of the youngest; yet upon this is built the whole tragedy of his position.

Similarly unnatural is the subordinate action: the relation of Gloucester to his sons. The positions of Gloucester and Edgar flow from the circumstance that Gloucester, just like Lear, immediately believes the coarsest untruth and does not even endeavor to inquire of his injured son whether what he is accused of be true, but at once curses and banishes him. The fact that Lear's relations with his daughters are the same as those of Gloucester to his sons makes one feel yet more strongly that in both cases the relations are quite arbitrary, and do not flow from the characters nor the natural course of events. Equally unnatural, and obviously invented, is the fact that all through the tragedy Lear does not recognize his old courtier, Kent, and therefore the relations between Lear and Kent fail to excite the sympathy of the reader or spectator. The same, in a yet greater degree, holds true of the position of Edgar, who, unrecognized by any one, leads his blind father and persuades him that he has leapt off a cliff, when in reality Gloucester jumps on level ground.

These positions, into which the characters are placed quite arbitrarily, are so unnatural that the reader or spectator is unable not only to sympathize with their sufferings but even to be interested in what he reads or sees. This in the first place.

Secondly, in this, as in the other dramas of Shakespeare, all the characters live, think, speak, and act quite unconformably with the given time and place. The action of "King Lear" takes place 800 years B.C., and yet the characters are placed in conditions possible only in the Middle Ages: participating in the drama are kings, dukes, armies, and illegitimate children, and gentlemen, courtiers, doctors, farmers, officers, soldiers, and knights with vizors, etc. It is possible that such anachronisms (with which Shakespeare's dramas abound) did not injure the possibility of illusion in the sixteenth century and the beginning of the seventeenth, but in our time it is no longer possible to follow with interest the development of events which one knows could not take place in the conditions which the author describes in detail. The artificiality of the positions, not flowing from the natural course of events, or from the nature of the characters, and their want of conformity with time and space, is further increased by those coarse embellishments which are continually added by Shakespeare and intended to appear particularly touching. The extraordinary storm during which King Lear roams about the heath, or the grass which for some reason he puts on his head--like Ophelia in "Hamlet"--or Edgar's attire, or the fool's speeches, or the appearance of the helmeted horseman, Edgar--all these effects not only fail to enhance the impression, but produce an opposite effect. "Man sieht die Absicht und man wird verstimmt," as Goethe says. It often happens that even during these obviously intentional efforts after effect, as, for instance, the dragging out by the legs of half a dozen corpses, with which all Shakespeare's tragedies terminate, instead of feeling fear and pity, one is tempted rather to laugh.

IV

But it is not enough that Shakespeare's characters are placed in tragic positions which are impossible, do not flow from the course of events, are inappropriate to time and space--these personages, besides this, act in a way which is out of keeping with their definite character, and is quite arbitrary. It is generally asserted that in Shakespeare's dramas the characters are specially well expressed, that, notwithstanding their vividness, they are many-sided, like those of living people; that, while exhibiting the characteristics of a given individual, they at the same time wear the features of man in general; it is usual to say that the delineation of character in Shakespeare is the height of perfection.