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King Lear

In the chaotic world of King Lear, resolution of character seems remote and veiled from an aged king bent on denying the unspoken truth. Dramatically speaking, his enemies fare conventionally better. Philip McGuire concludes that when the mortally wounded Edmund declares that "The wheel is come full circle", his words serve as an explicit statement of dramatic fulfilment.1 Accordingly, Edmund, Goneril, and Regan move towards a dramatic consummation in which their deaths bond them in malevolence. However, Lear, Cordelia and the Fool seem divided, separated, and never allowed a mode of completion like their three counterparts. Lear's hopes of union with Cordelia are never realized, and are portrayed as unnatural: "We two alone", as the king puts it, "will sing like birds i'th'cage" (5.3.9). Cordelia's final line, "Shall we not see these daughters and these sisters?" (5.3.7), echoes Lear's wish for dramatic union, but she is silenced before it can be fulfilled. In the Folio addition to the play, the Fool reiterates this attitude on union when he utters, in despair of common sense, a contradictory disunity: "And I'll go to bed at noon" (3.6.41); John Kerrigan aptly stresses that this line "expresses the Fool's determination to leave King Lear with its course half run".2 The Fool's intentional silence marks the end of his usefulness to the king in madness, and Cordelia's silence would appear to function in a similar way. Their removal from speech deprives Lear of their supporting influence and drives him farther into self-examination. However, fulfilment remains elusive for Lear. McGuire's argument that the play's final scene presents silences which deny our certainty of a single "promised end" seems to point directly to the dramatic elusiveness Shakespeare tried to cultivate.

Shakespeare portrays this theme of irresolution through Cordelia, the Fool, and finally of Lear. When Shakespeare imposes a silence on Cordelia and the Fool, effectively halting their...