The drama of "Lear" begins with a scene giving the conversation between two courtiers, Kent and Gloucester. Kent, pointing to a young man present, asks Gloucester whether that is not his son. Gloucester says that he has often blushed to acknowledge the young man as his son, but has now ceased doing so. Kent says he "can not conceive him." Then Gloucester in the presence of this son of his says: "The fellow's mother could, and grew round-wombed, and had a son for her cradle ere she had a husband for her bed." "I have another, a legitimate son," continues Gloucester, "but altho this one came into the world before he was sent for, his mother was fair and there was good sport at his making, and therefore I acknowledge this one also."

Such is the introduction. Not to mention the coarseness of these words of Gloucester, they are, farther, out of place in the mouth of a person intended to represent a noble character. One can not agree with the opinion of some critics that these words are given to Gloucester in order to show the contempt for his illegitimacy from which Edmund suffers. Were this so, it would first have been unnecessary to make the father express the contempt felt by men in general, and, secondly, Edmund, in his monolog about the injustice of those who despise him for his birth, would have mentioned such words from his father. But this is not so, and therefore these words of Gloucester at the very beginning of the piece, were merely intended as a communication to the public—in a humorous form—of the fact that Gloucester has a legitimate son and an illegitimate one.

After this, trumpets are blown, and King Lear enters with his daughters and sons-in-law, and utters a speech to the effect that, owing to old age, he wishes to retire from the cares of business and divide his kingdom between his daughters. In order to know how much he should give to each daughter, he announces that to the one who says she loves him most he will give most. The eldest daughter, Goneril, says that words can not express the extent of her love, that she loves her father more than eyesight, space, and liberty, loves him so much that it "makes her breath poor." King Lear immediately allots his daughter on the map, her portion of fields, woods, rivers, and meadows, and asks the same question of the second daughter. The second daughter, Regan, says that her sister has correctly expressed her own feelings, only not strongly enough. She, Regan, loves her father so much that everything is abhorrent to her except his love. The king rewards this daughter, also, and then asks his youngest, the favorite, in whom, according to his expression, are "interess'd the vines of France and the milk of Burgundy," that is, whose hand is being claimed by the King of France and the Duke of Burgundy,—he asks Cordelia how she loves him. Cordelia, who personifies all the virtues, as the eldest two all the vices, says, quite out of place, as if on purpose to irritate her father, that altho she loves and honors him, and is grateful to him, yet if she marries, all her love will not belong to her father, but she will also love her husband.

Hearing these words, the King loses his temper, and curses this favorite daughter with the most dreadful and strange maledictions, saying, for instance, that he will henceforth love his daughter as little as he loves the man who devours his own children.

The courtier, Kent, defends Cordelia, and desiring to appease the King, rebukes him for his injustice, and says reasonable things about the evil of flattery. Lear, unmoved by Kent, banishes him under pain of death, and calling to him Cordelia's two suitors, the Duke of Burgundy and the King of France, proposes to them in turn to take Cordelia without dowry. The Duke of Burgundy frankly says that without dowry he will not take Cordelia, but the King of France takes her without dowry and leads her away. After this, the elder sisters, there and then entering into conversation, prepare to injure their father who had endowed them. Thus ends the first scene.

Not to mention the pompous, characterless language of King Lear, the same in which all Shakespeare's Kings speak, the reader, or spectator, can not conceive that a King, however old and stupid he may be, could believe the words of the vicious daughters, with whom he had passed his whole life, and not believe his favorite daughter, but curse and banish her; and therefore the spectator, or reader, can not share the feelings of the persons participating in this unnatural scene.

The second scene opens with Edmund, Gloucester's illegitimate son, soliloquizing on the injustice of men, who concede rights and respect to the legitimate son, but deprive the illegitimate son of them, and he determines to ruin Edgar, and to usurp his place. For this purpose, he forges a letter to himself as from Edgar, in which the latter expresses a desire to murder his father. Awaiting his father's approach, Edmund, as if against his will, shows him this letter, and the father immediately believes that his son Edgar, whom he tenderly loves, desires to kill him. The father goes away, Edgar enters and Edmund persuades him that his father for some reason desires to kill him. Edgar immediately believes this and flees from his parent.

The relations between Gloucester and his two sons, and the feelings of these characters are as unnatural as Lear's relation to his daughters, or even more so, and therefore it is still more difficult for the spectator to transport himself into the mental condition of Gloucester and his sons and sympathize with them, than it is to do so into that of Lear and his daughters.

In the fourth scene, the banished Kent, so disguised that Lear does not recognize him, presents himself to Lear, who is already staying with Goneril. Lear asks who he is, to which Kent answers, one doesn't know why, in a tone quite inappropriate to his position: "A very honest-hearted fellow and as poor as the King."—"If thou be as poor for a subject as he is for a King, thou art poor enough—How old art thou?" asks the King. "Not so young, Sir, to love a woman, etc., nor so old to dote on her." To this the King says, "If I like thee no worse after dinner, I will not part from thee yet."

These speeches follow neither from Lear's position, nor his relation to Kent, but are put into the mouths of Lear and Kent, evidently because the author regards them as witty and amusing.

Goneril's steward appears, and behaves rudely to Lear, for which Kent knocks him down. The King, still not recognizing Kent, gives him money for this and takes him into his service. After this appears the fool, and thereupon begins a prolonged conversation between the fool and the King, utterly unsuited to the position and serving no purpose. Thus, for instance, the fool says, "Give me an egg and I'll give thee two crowns." The King asks, "What crowns shall they be?"—"Why," says the fool, "after I have cut the egg i' the middle, and eat up the meat, the two crowns of the egg. When thou clovest thy crown i' the middle, and gavest away both parts, thou borest thine ass on thy back o'er the dirt: thou hadst little wit in thy bald crown when thou gavest thy golden one away. If I speak like myself in this, let him be whipp'd that first finds it so."

In this manner lengthy conversations go on calling forth in the spectator or reader that wearisome uneasiness which one experiences when listening to jokes which are not witty.

This conversation was interrupted by the approach of Goneril. She demands of her father that he should diminish his retinue; that he should be satisfied with fifty courtiers instead of a hundred. At this suggestion, Lear gets into a strange and unnatural rage, and asks:

And so forth.

While this goes on the fool does not cease to interpolate his humorless jokes. Goneril's husband then enters and wishes to appease Lear, but Lear curses Goneril, invoking for her either sterility or the birth of such an infant-monster as would return laughter and contempt for her motherly cares, and would thus show her all the horror and pain caused by a child's ingratitude.

These words which express a genuine feeling, might have been touching had they stood alone. But they are lost among long and high-flown speeches, which Lear keeps incessantly uttering quite inappropriately. He either invokes "blasts and fogs" upon the head of his daughter, or desires his curse to "pierce every sense about her," or else appealing to his own eyes, says that should they weep, he will pluck them out and "cast them with the waters that they lose to temper clay." And so on.

After this, Lear sends Kent, whom he still fails to recognize, to his other daughter, and notwithstanding the despair he has just manifested, he talks with the fool, and elicits his jokes. The jokes continue to be mirthless and besides creating an unpleasant feeling, similar to shame, the usual effect of unsuccessful witticisms, they are also so drawn out as to be positively dull. Thus the fool asks the King whether he can tell why one's nose stands in the middle of one's face? Lear says he can not.—

And so on.

After this lengthy scene, a gentleman enters and announces that the horses are ready. The fool says:

The second part of the first scene of the second act begins by the villain Edmund persuading his brother, when their father enters, to pretend that they are fighting with their swords. Edgar consents, altho it is utterly incomprehensible why he should do so. The father finds them fighting. Edgar flies and Edmund scratches his arm to draw blood and persuades his father that Edgar was working charms for the purpose of killing his father and had desired Edmund to help him, but that he, Edmund, had refused and that then Edgar flew at him and wounded his arm. Gloucester believes everything, curses Edgar and transfers all the rights of the elder and legitimate son to the illegitimate Edmund. The Duke, hearing of this, also rewards Edmund.

In the second scene, in front of Gloucester's palace, Lear's new servant, Kent, still unrecognized by Lear, without any reason, begins to abuse Oswald, Goneril's steward, calling him,—"A knave, a rascal, an eater of broken meats; a base, proud, shallow, beggarly, three-suited, hundred-pound, filthy, worsted-stocking knave;—the son and heir of a mongrel bitch." And so on. Then drawing his sword, he demands that Oswald should fight with him, saying that he will make a "sop o' the moonshine" of him,—words which no commentators can explain. When he is stopped, he continues to give vent to the strangest abuse, saying that a tailor made Oswald, as "a stone-cutter or a painter could not have made him so ill, tho they had been but two hours o' the trade!" He further says that, if only leave be given him, he will "tread this unbolted villain into mortar and daub the wall of a jakes with him."

Thus Kent, whom nobody recognizes, altho both the King and the Duke of Cornwall, as well as Gloucester who is present, ought to know him well, continues to brawl, in the character of Lear's new servant, until he is taken and put in the stocks.

The third scene takes place on a heath. Edgar, flying from the persecutions of his father, hides in a wood and tells the public what kind of lunatics exist there—beggars who go about naked, thrust wooden pricks and pins into their flesh, scream with wild voices and enforce charity, and says that he wishes to simulate such a lunatic in order to save himself from persecution. Having communicated this to the public, he retires.

The fourth scene is again before Gloucester's castle. Enter Lear and the fool. Lear sees Kent in the stocks, and, still not recognizing him, is inflamed with rage against those who dared so to insult his messenger, and calls for the Duke and Regan. The fool goes on with his jokes.

Lear with difficulty restrains his ire. Enter the Duke and Regan. Lear complains of Goneril but Regan justifies her sister. Lear curses Goneril, and, when Regan tells him he had better return to her sister, he is indignant and says: "Ask her forgiveness?" and falls down on his knees demonstrating how indecent it would be if he were abjectly to beg food and clothing as charity from his own daughter, and he curses Goneril with the strangest curses and asks who put his servant in the stocks. Before Regan can answer, Goneril arrives. Lear becomes yet more exasperated and again curses Goneril, but when he is told that it was the Duke himself who ordered the stocks, he does not say anything, because, at this moment, Regan tells him that she can not receive him now and that he had best return to Goneril, and that in a month's time she herself will receive him, with, however, not a hundred but fifty servants. Lear again curses Goneril and does not want to go to her, continuing to hope that Regan will accept him with the whole hundred servants. But Regan says she will receive him only with twenty-five and then Lear makes up his mind to go back to Goneril who admits fifty. But when Goneril says that even twenty-five are too many, Lear pours forth a long argument about the superfluous and the needful being relative and says that if man is not allowed more than he needs, he is not to be distinguished from a beast. Lear, or rather the actor who plays Lear's part, adds that there is no need for a lady's finery, which does not keep her warm. After this he flies into a mad fury and says that to take vengeance on his daughters he will do something dreadful but that he will not weep, and so he departs. A storm begins.

Such is the second act, full of unnatural events, and yet more unnatural speeches, not flowing from the position of the characters,—and finishing with a scene between Lear and his daughters which might have been powerful if it had not been permeated with the most absurdly foolish, unnatural speeches—which, moreover, have no relation to the subject,—put into the mouth of Lear. Lear's vacillations between pride, anger, and the hope of his daughters' giving in, would be exceedingly touching if it were not spoilt by the verbose absurdities to which he gives vent, about being ready to divorce himself from Regan's dead mother, should Regan not be glad to receive him,—or about his calling down "fen suck'd frogs" which he invokes, upon the head of his daughter, or about the heavens being obliged to patronize old people because they themselves are old.

The third act begins with thunder, lightning, a storm of some special kind such as, according to the words of the characters in the piece, had never before taken place. On the heath, a gentleman tells Kent that Lear, banished by his daughters from their homes, is running about the heath alone, tearing his hair and throwing it to the wind, and that none but the fool is with him. In return Kent tells the gentleman that the dukes have quarrelled, and that the French army has landed at Dover, and, having communicated this intelligence, he dispatches the gentleman to Dover to meet Cordelia.

The second scene of the third act also takes place on the heath, but in another part of it. Lear walks about the heath and says words which are meant to express his despair: he desires that the winds should blow so hard that they should crack their cheeks and that the rain should flood everything, that lightning should singe his white head, and the thunder flatten the world and destroy all germens "that make ungrateful man!" The fool keeps uttering still more senseless words. Enter Kent. Lear says that for some reason during this storm all criminals shall be found out and convicted. Kent, still unrecognized by Lear, endeavors to persuade him to take refuge in a hovel. At this point the fool pronounces a prophecy in no wise related to the situation and they all depart.

The third scene is again transferred to Gloucester's castle. Gloucester tells Edmund that the French King has already landed with his troops, and intends to help Lear. Learning this, Edmund decides to accuse his father of treason in order that he may get his heritage.

The fourth scene is again on the heath in front of the hovel. Kent invites Lear into the hovel, but Lear answers that he has no reason to shelter himself from the tempest, that he does not feel it, having a tempest in his mind, called forth by the ingratitude of his daughters, which extinguishes all else. This true feeling, expressed in simple words, might elicit sympathy, but amidst the incessant, pompous raving it escapes one and loses its significance.

The hovel into which Lear is led, turns out to be the same which Edgar has entered, disguised as a madman, i.e., naked. Edgar comes out of the hovel, and, altho all have known him, no one recognizes him,—as no one recognizes Kent,—and Edgar, Lear, and the fool begin to say senseless things which continue with interruptions for many pages. In the middle of this scene, enter Gloucester, who also does not recognize either Kent or his son Edgar, and tells them how his son Edgar wanted to kill him.

This scene is again cut short by another in Gloucester's castle, during which Edmund betrays his father and the Duke promises to avenge himself on Gloucester. Then the scene shifts back to Lear. Kent, Edgar, Gloucester, Lear, and the fool are at a farm and talking. Edgar says: "Frateretto calls me, and tells me Nero is an angler in the lake of darkness...." The fool says: "Tell me whether a madman be a gentleman or a yeoman?" Lear, having lost his mind, says that the madman is a king. The fool says no, the madman is the yeoman who has allowed his son to become a gentleman. Lear screams: "To have a thousand with red burning spirits. Come hissing in upon 'em,"—while Edgar shrieks that the foul fiend bites his back. At this the fool remarks that one can not believe "in the tameness of a wolf, a horse's health, a boy's love, or a whore's oath." Then Lear imagines he is judging his daughters. "Sit thou here, most learned justicer," says he, addressing the naked Edgar; "Thou, sapient sir, sit here. Now, you she foxes." To this Edgar says: "Look where he stands and glares! Wantest thou eyes at trial, madam?" "Come o'er the bourn, Bessy, to me,——" while the fool sings:

Edgar goes on in his own strain. Kent suggests that Lear should lie down, but Lear continues his imaginary trial: "Bring in their evidence," he cries. "Thou robed man of justice, take thy place," he says to Edgar, "and thou" (to the fool) "his yoke-fellow of equity, bench by his side. You are o' the commission, sit you too," addressing Kent.

"Purr, the cat is gray," shouts Edgar.

"Arraign her first, 'tis Goneril," cries Lear. "I here take my oath before this honorable assembly, she kicked the poor king, her father."

"Come hither, mistress. Is your name Goneril?" says the fool, addressing the seat.

"And here's another," cries Lear. "Stop her there! arms, arms, sword, fire! Corruption in the place! False justice, why hast thou let her 'scape?"

This raving terminates by Lear falling asleep and Gloucester persuading Kent, still without recognizing him, to carry Lear to Dover, and Kent and the fool carry off the King.

The scene is transferred to Gloucester's castle. Gloucester himself is about to be accused of treason. He is brought forward and bound. The Duke of Cornwall plucks out one of his eyes and sets his foot on it. Regan says, "One side will mock another; the other too." The Duke wishes to pluck the other out also, but some servant, for some reason, suddenly takes Gloucester's part and wounds the Duke. Regan kills the servant, who, dying, says to Gloucester that he has "one eye left to see some mischief on him." The Duke says, "Lest it see more, prevent it," and he tears out Gloucester's other eye and throws it on the ground. Here Regan says that it was Edmund who betrayed his father and then Gloucester immediately understands that he has been deceived and that Edgar did not wish to kill him.

Thus ends the third act.

The fourth act is again on the heath. Edgar, still attired as a lunatic, soliloquizes in stilted terms about the instability of fortune and the advantages of a humble lot. Then there comes to him somehow into the very place on the heath where he is, his father, the blinded Gloucester, led by an old man. In that characteristic Shakespearean language,—the chief peculiarity of which is that the thoughts are bred either by the consonance or the contrasts of words,—Gloucester also speaks about the instability of fortune. He tells the old man who leads him to leave him, but the old man points out to him that he can not see his way. Gloucester says he has no way and therefore does not require eyes. And he argues about his having stumbled when he saw, and about defects often proving commodities. "Ah! dear son Edgar," he adds, "might I but live to see thee in my touch, I'd say I had eyes again." Edgar naked, and in the character of a lunatic, hearing this, still does not disclose himself to his father. He takes the place of the aged guide and talks with his father, who does not recognize his voice, but regards him as a wandering madman. Gloucester avails himself of the opportunity to deliver himself of a witticism: "'Tis the times' plague when madmen lead the blind," and he insists on dismissing the old man, obviously not from motives which might be natural to Gloucester at that moment, but merely in order, when left alone with Edgar, to enact the later scene of the imaginary leaping from the cliff.

Notwithstanding Edgar has just seen his blinded father, and has learnt that his father repents of having banished him, he puts in utterly unnecessary interjections which Shakespeare might know, having read them in Haronet's book, but which Edgar had no means of becoming acquainted with, and above all, which it was quite unnatural for him to repeat in his present position. He says, "Five friends have been in poor Tom at once: of lust, as Obidient; Hobbididance, prince of dumbness; Mahu, of stealing; Modo, of murder; Flibbertigibbet, of mopping and mowing; who since possesses chambermaids and waiting women."

Hearing these words, Gloucester makes a present of his purse to Edgar, saying:

Having pronounced these strange words, the blind Gloucester requests Edgar to lead him to a certain cliff overhanging the sea, and they depart.

The second scene of the fourth act takes place before the Duke of Albany's palace. Goneril is not only cruel, but also depraved. She despises her husband and discloses her love to the villain Edmund, who has inherited the title of his father Gloucester. Edmund leaves, and a conversation takes place between Goneril and her husband. The Duke of Albany, the only figure with human feelings, who had already previously been dissatisfied with his wife's treatment of her father, now resolutely takes Lear's side, but expresses his emotion in such words as to shake one's confidence in his feeling. He says that a bear would lick Lear's reverence, that if the heavens do not send their visible spirits to tame these vile offenses, humanity must prey on itself like monsters, etc.

Goneril does not listen to him, and then he begins to abuse her:

"O vain fool," says Goneril. "Thou changed and self-cover'd thing, for shame," continues the Duke:

After this a messenger enters, and announces that the Duke of Cornwall, wounded by his servant whilst plucking out Gloucester's eyes, had died. Goneril is glad but already anticipates with fear that Regan, now a widow, will deprive her of Edmund. Here the second scene ends.

The third scene of the fourth act represents the French camp. From a conversation between Kent and a gentleman, the reader or spectator learns that the King of France is not in the camp and that Cordelia has received a letter from Kent and is greatly grieved by what she has learned about her father. The gentleman says that her face reminded one of sunshine and rain.

And so forth.

The gentleman says that Cordelia desires to see her father, but Kent says that Lear is ashamed of seeing this daughter whom he has treated so unkindly.

In the fourth scene, Cordelia, talking with a physician, tells him that Lear has been seen, that he is quite mad, wearing on his head a wreath of various weeds, that he is roaming about and that she has sent soldiers in search of him, adding that she desires all secret remedies to spring with her tears, and the like.

She is informed that the forces of the Dukes are approaching, but she is concerned only about her father and departs.

The fifth scene of the fourth act lies in Gloucester's castle. Regan is talking with Oswald, Goneril's steward, who is carrying a letter from Goneril to Edmund, and she announces to him that she also loves Edmund and that, being a widow, it is better for her to marry him than for Goneril to do so, and she begs him to persuade her sister of this. Further she tells him that it was very unreasonable to blind Gloucester and yet leave him alive, and therefore advises Oswald, should he meet Gloucester, to kill him, promising him a great reward if he does this.

In the sixth scene, Gloucester again appears with his still unrecognized son Edgar, who (now in the guise of a peasant) pretends to lead his father to the cliff. Gloucester is walking along on level land but Edgar persuades him that they are with difficulty ascending a steep hill. Gloucester believes this. Edgar tells his father that the noise of the sea is heard; Gloucester believes this also. Edgar stops on a level place and persuades his father that he has ascended the cliff and that in front of him lies a dreadful abyss, and leaves him alone. Gloucester, addressing the gods, says that he shakes off his affliction as he can bear it no longer, and that he does not condemn them—the gods. Having said this, he leaps on the level ground and falls, imagining that he has jumped off the cliff. On this occasion, Edgar, soliloquizing, gives vent to a yet more entangled utterance:

He approaches Gloucester, in the character of yet a different person, and expressing astonishment at the latter not being hurt by his fall from such a dreadful height. Gloucester believes that he has fallen and prepares to die, but he feels that he is alive and begins to doubt that he has fallen from such a height. Then Edgar persuades him that he has indeed jumped from the dreadful height and tells him that the individual who had been with him at the top was the devil, as he had eyes like two full moons and a thousand noses and wavy horns. Gloucester believes this, and is persuaded that his despair was the work of the devil, and therefore decides that he will henceforth despair no more, but will quietly await death. Hereupon enters Lear, for some reason covered with wild-flowers. He has lost his senses and says things wilder than before. He speaks about coining, about the moon, gives some one a yard—then he cries that he sees a mouse, which he wishes to entice by a piece of cheese. Then he suddenly demands the password from Edgar, and Edgar immediately answers him with the words "Sweet marjoram." Lear says, "Pass," and the blind Gloucester, who has not recognized either his son or Kent, recognizes the King's voice.

Then the King, after his disconnected utterances, suddenly begins to speak ironically about flatterers, who agreed to all he said, "Ay, and no, too, was no good divinity," but, when he got into a storm without shelter, he saw all this was not true; and then goes on to say that as all creation addicts itself to adultery, and Gloucester's bastard son had treated his father more kindly than his daughters had treated him (altho Lear, according to the development of the drama, could not know how Edmund had treated Gloucester), therefore, let dissoluteness prosper, the more so as, being a King, he needs soldiers. He here addresses an imaginary hypocritically virtuous lady who acts the prude, whereas

and, saying this, Lear screams and spits from horror. This monolog is evidently meant to be addressed by the actor to the audience, and probably produces an effect on the stage, but it is utterly uncalled for in the mouth of Lear, equally with his words: "It smells of mortality," uttered while wiping his hand, as Gloucester expresses a desire to kiss it. Then Gloucester's blindness is referred to, which gives occasion for a play of words on eyes, about blind Cupid, at which Lear says to Gloucester, "No eyes in your head, nor no money in your purse? Your eyes are in a heavy case, your purse in a light." Then Lear declaims a monolog on the unfairness of legal judgment, which is quite out of place in the mouth of the insane Lear. After this, enter a gentleman with attendants sent by Cordelia to fetch her father. Lear continues to act as a madman and runs away. The gentleman sent to fetch Lear, does not run after him, but lengthily describes to Edgar the position of the French and British armies. Oswald enters, and seeing Gloucester, and desiring to receive the reward promised by Regan, attacks him, but Edgar with his club kills Oswald, who, in dying, transmits to his murderer, Edgar, Goneril's letter to Edmund, the delivery of which would insure reward. In this letter Goneril promises to kill her husband and marry Edmund. Edgar drags out Oswald's body by the legs and then returns and leads his father away.

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:

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

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