Page 38 - King Lear: The Cambridge Dover Wilson Shakespeare

INTRODUCTIO N xxxiii
by the Fool all along. The Fool can do no more now
than add a cap to Lear's own remark. In the dramatic
design, the tutor-Fool is no longer required; and Shake-
speare boldly dispenses with him. The royal pupil has
not learned fully yet—he has a long way to go: but one
of his teachers has now succeeded, up to a point; is no
longer dramatically necessary; and must be dropped—
for, in a drama so intense as this one, the presence of an
otiose character would handicap the author. And in the
theatre—or in the study, as we read, enthralled, at top
speed—the absence of the Fool in the later stages of the
play is hardly noticed, if at all. Our minds are on other
things. It is a stroke of dramatic economy.

VI. Lear's Suffering
When Cordelia justifies her answer to her father in. 1.1
she may be said to be trying to teach him. The out-
spoken Kent tries to teach him. The Fool is continually
trying to teach him. But his most effective teacher is
Suffering.
Through suffering, Lear learns wisdom and attains
salvation. He learns to be patient under affliction. He
learns that, though king, he is also man. He learns
repentance, humility, and charitable fellow-feeling with,
even the lowest of distressed humanity.
He learns his lessons slowly. Often, in the process, he
advances and then relapses. Thus, at 1.1. i he knows
nothing of patience. By 2. 4. 267 he is able to cry—
You heavens, give me patience—patience I need!

But he immediately goes on to reject the idea of patience,
and, apostrophizing the gods, says—
If it be you that stirs these daughters' hearts
Against their father, fool me not so much
To bear it tamely} touch me with noble anger.