Story Power

Blogging the Lit Life

Date: February 2, 2025

Albany’s Growth in King Lear

In Shakespeare’s play King Lear, the character of the Duke of Albany goes through one of the most significant transformations of the play. He is initially portrayed as passive and indecisive, but he slowly emerges as a force of morality and justice, in stark contrast to the cruelty of the other characters.

Albany is married to Goneril, one of Lear’s power hungry daughters. At the beginning of the play, he appears to be lesser to his wife, failing to challenge her ruthless ambition. Unlike Goneril and Regan, who eagerly try to take power, he hesitates to participate in their schemes. This reluctance to act makes him seem weak, yet this passivity allows for his later growth.

As the play progresses, Albany becomes increasingly aware of the corruption around him, specifically Goneril and Edmunds cruelty. Initially passive, he grows into a figure of moral strength, condemning the acts committed against Lear and Gloucester. By the final act, he fully asserts himself, exposing Edmund’s betrayal and demanding justice. His attempt to restore order after the tragedy reinforces his integrity, and although he doesn’t want to rule, he remains a strong example of growth and change.

Aging and its effects on the psyche represented in King Lear

Throughout reading and watching King Lear being performed, I was impressed by the actor’s ability to represent Lear’s aging and how, by the end of the play, he finally realized who he should have been all along: a father to his daughters.

Throughout the play, I expected Lear to go mad and become even more “evil” than he was at the beginning toward everyone else, but I was happily surprised to see the opposite happen. This development in his psyche and his becoming mad paved the way for him to come back and develop a new sense of his reality, and his situation as the king.

These ideas I think are best portrayed in the version in which Ian Mckellan takes on the role of lear.  This adaptation I feel is the best 1 to 1 “replica” of the play. But is nowhere near the beauty and almost perfection of Akira Kurosawa’s “Ran”. This version symbolizes aging especially with Lear in which he becomes weaker, but also kinder. Realizing that his power was nothing compared to his relationship with his daughters. Which he finally realized was more important.

One passage that really connected to me was the soliloquy spoken by Lear during the storm. This passage I feel really demonstrated his transition in mentalities more than any other scene in the story. The moments of realization for him as the entire scene unfolds in the castle just scenes before allowing him to turn into a loving father at the end of the play. This was a crucial moment in the play, and if it had not happened I am not sure the play would have worked its way out in the same way, or even been half as impactful as it was by the end.

Overall, I feel my favorite character has to be Kent. Not only because I played him in act one, but also because he demonstrates strength and undying loyalty. He could have easily turned against Lear when he was wrongfully banished, or taken sides with the daughters. But he did not, he stood by him even in a dirty disguise and gave him everything he needed to reunite with Cordelia and finish off the plot and tragedy of the play.

Is suffering bad?

Suffering happens throughout King Lear and ultimately shapes the characters and drives the plot. In this case, suffering is not just a punishment, but redemption. A way to confront reality and to grow.

At the beginning of the play Lear is blinded by arrogance and false flattery which causes him to drive his daughters away. This comes back to bite him because he is forced out into the harsh storm, left powerless and alone. Being out in the storm, he faces internal storms as well which mirrors the one outside. His suffering in the storm leads him to see the true nature of his eldest daughters and to reflect on his time as king, in which he realizes how cruel he was to the poor. Then finally, near the end of the play, he sees that Cordelia was always telling the truth.

Similarly, Gloucester at the beginning of the play was deceived by his sons. His own blindness of disguises led him to believe the lies Edmund had spun. This leads to himself getting physically blinded. However, the suffering of losing his eyes and sight, causes him to actually be able to see more. He realizes what a fool he was for believing Edmund, and he finally recognizes Edgar’s loyalty.

Both Lear and Gloucester at the beginning of the story, are characters with high influence and large power which initially allows them to be blinded and deceived. Lear believed in authority, and wanted everybody to obey him, and Gloucester relied on appearances which did not work so well. They both had to suffer based on it, but it led to a change within them. At the end of the play, Lear physically kneels to Cordelia and apologizes for his mistakes, and Gloucester finally sees the love Edgar has for him, and allows himself to be guided and led by Edgar. Suffering allowed them both to be humbled, but then become better because of it.

Despite all this growth, both Lear and Gloucester did not have a happy ending. Cordelia dies, which leaves Lear in a state of heartbreak in which he ultimately dies from. Gloucester, though he sees clearly, dies from the weight of it all. So is suffering good?

I think that Shakespeare uses suffering to show that people can redeem themselves and become better because of what they have endured. But while not everyone who suffers gets a happy ending, it forces characters to confront themselves and their actions. It allows them to recognize their faults, learn from their mistakes, and in some cases, find a deeper understanding of the truth.

Shakespeare in High School – Yes or No?

Freshman year of high school comes with the all too common first reading of Romeo and Juliet. Praised as the best play to introduce teens to Shakespeare’s work, many parents and teachers wonder why their readers are not connecting with it, with the frustration of “Shakespeare has so many connections to modern day! Why don’t you see that?”

If you were to ask freshman year me how I felt about Romeo and Juilet, I would’ve told you it was garbage. But when I was given the opportunity to read King Lear in class, I came in with excitement, only to be disappointed. How can this be possible?

Kids are told of Shakespeare’s masterpieces as soon as they can understand what a book is, but when they are first handed a copy, they are often disappointed. Faced with the frustration of hard-to-understand language, it can be hard not to give up completely. Especially when students are forced to read in a short amount of time, and when they finally feel they are beginning to understand the text, they are often told that they interpreted it in the “wrong” way.

After reading Romeo and Juliet, I was given the opportunity to design and create all of the props for my high school’s rendition of Hamlet. Suddenly, Shakespeare was accessible. I had months to analyze the text, I was able to add my own creative twist to the play, and at the end of it all I got to watch it all on stage. Once the play ended, I bought several Folger’s editions of Shakespeare’s plays, including Macbeth, The Tempest, and my personal favorite, A Midsummer’s Night Dream. I spent my three months of summer reading and falling in love with Shakespeare. And yet, as I began to read King Lear for my senior year English class, I couldn’t stand going to class to talk about it. So what happened?

As many people will argue, the main reason reading Shakespeare is so frustrating is the fact that it is simply not meant to be read, it’s meant for the stage. Many high school teachers try to make up for this by providing video performances or performing in class. However, the vast majority of kids in your standard high school English class don’t like acting or don’t know anything about how Shakespeare shows are acted. They’ve never been taught that. When they watch a video, it does not even begin to compare to the experience of sitting in a theatre and watching the events play out in real time and enjoying the connection to actors or even better, having the opportunity to be a part of the play.

To add on to that, when students are brought into an English classroom, they are expected to read the play on the teacher’s schedule, meaning they are rushed and don’t have the time they need to dissect the text. Then, when they start to dissect the text, they are told that they did it wrong, and they get the message that they are simply not smart enough to understand the true literature that is Shakespeare.

And yet, we see examples all over the world of teens who fall in love with Shakespeare, as I once did.

In my reading of King Lear, there were moments I had felt my love rekindling, when Kent flames Oswald, when Edgar acts as several different people to trick his blind father. These are the moments that captured my love in the first place. But they were smothered when I would go to class and watch as scenes were acted by half-asleep teenagers as their teacher tried to convince them to put in energy to an ancient text at 8 in the morning. And when it came my turn to act, I would have rather fallen asleep than continue professing my love to Cordelia as well.

So what’s my point here?

Well, what made me love Shakespeare is participating in the way that they love to do (like making props), reading it in my own time, and seeing it on the stage. If we truly want high school students to fall in love with Shakespeare, forcing them to read it without their own creative input, without seeing it on stage, and without letting them read and interpret the text when they are comfortable is not the way to do it.

Today, these plays have an important and distinct connection to our world and culture. Instead of treating it like “just another unit” of your high school English class, it’s time to give them the time, energy, and openness they deserve. One interpretation of a play is never incorrect. Four weeks of a student’s busy schedule is not enough time for them to understand and embrace Shakespeare, and simply reading it aloud in class will never be enough to show the true magic of the play. 

Kent vs. Oswald

I found it interesting how Shakespeare portrays loyalty throughout King Lear. I think the concept of loyalty in itself is very complex and multifaceted, and he seems to present this idea from many angles. Was Cordelia’s refusal to flatter Lear merely an act of defiance or a deeper affirmation of loyalty through love and integrity? Can true loyalty include making hard choices that may hurt the ones we love if it means preserving the integrity of the relationship? These are the questions the audience is forced to ask themselves.

As the play unfolds, we see Shakespeare use characters like Oswald and Kent to embody these different facets of loyalty. Oswald’s loyalty to Goneril reflects the consequences of conforming to power without scrutiny or personal agency. His constant obedience throughout the play to Goneril’s unethical tasks exemplifies the risks of losing, or perhaps even disregarding, one’s moral compass in the blind pursuit of duty or appeasement. The kind of loyalty that is rooted in self-interest and preservation often leads to people enabling evil and toxicity. Through Oswald’s actions, Shakespeare tries to demonstrate the danger in loyalty when it is separated from individual judgment.

On the other hand, Kent’s loyalty offers much more depth into the power of human integrity. His decision to remain loyal to Lear, even after he was disrespected, exiled, and in disguise, highlights the strength of loyalty that is fueled by genuine care and commitment. His loyalty is more than just supporting and following; it is corrective and aimed at helping Lear see his mistakes. Kent actively seeks to improve the situation by encouraging better choices, not just blindly following orders.

By examining these contrasting types of loyalty, Shakespeare uses the characters of Kent and Oswald to encourage us to reflect on our own lives. They challenge us to ask: Do we follow rules and narratives out of blind obligation, or do we live our lives through a deeper, conscious commitment to what is right and just? Their stories reveal that true loyalty includes courage and active engagement—it compels the audience to support not merely the individual but the ideals they embody.

These character dynamics tie back to our experiences as humans and how our loyalties shape not only who we are but our society as a whole. Shakespeare designed his plays to capture these human dilemmas, which is why they can still be applied to now, prompting us to consider how our loyalties reflect our values and the type of world we are creating.

 

inherent human nature (natural evil, vs circumstantial factors)

in king Lear, Shakespeare dives into the complexities of human nature, exploring the idea of natural evil or adopted evil, in which individual act with Ill intent simple because they are naturally evil. Or guided by a synthetic hope and greed for power as a product circumstances.

Shakespeare intentional use of highlighting the difference can be seen through Edmund, the illegitimate son of Gloucester or the embodiment of evil, although born into illegitimacy and treaded differently as a result, Edmund nature is still derived from pure evil .Shakespeare’s highlights the distinct connection from his very words stated by Edmund “Thou, nature, art my goddess; to thy law my services are bound. “Here Edmund proves his sense of self is from nature laws, not circumstantial. Making one understand his cruel evil spirit is not a product of external influence but natural evil.

whereas Goneril and Regan both adopted this sense of evil. Although not initially bad or ill indented these women were brainwashed by greed and the pursuit of power. King Lear stung by the pain of betray was only betrayed due to their circumstantial wants for power, not because they genuinely wanted to cause havoc and suffering. Which inspires the thought are we born into our nature or developed into it?

 

Where are the mothers in King Lear?

I’ve spent a lot of time on King Lear thinking about the similarities between the two main families. The comparison is relatively easy. Gloucester and Lear are quite similar as fathers, Edgar and Cordelia are some of the only characters that can be categorized as good, and then Edmund and Goneril/Regan share many similarities. One more similarity in these families is that neither of them has a mother. In doing a quick Google search, I found that Shakespeare did not have a lot of mothers in his plays. This was probably because women were played by younger boys, creating some pretty obvious issues for playing a mother. But still I think it is important to talk about when trying to dissect the characters.

As far as I can tell, the only mention of a mother in the play is in the very first act when Gloucester is making fun of Edmund’s mom. This hardly counts as talk of a real mother figure in Edmund’s childhood. That could explain some of his less desirable character traits. But there is also no mention of Edgar having a mother, and he is clearly a more positive character in the play. So what makes them different? What makes Cordelia, Regan, and Goneril different? I think it’s pretty clear that Edgar and Cordelia were the favorites of their fathers. What is interesting to me about this being the conclusion is that we see all of the negative traits of Lear early in the play and that conclusion would be predicated on the idea that that Lear was a good father. I, personally, find that hard to believe.

The conclusion that I can draw is that there have to be some sort of mother figures behind the characters that are not mentioned in the play. I think it is the only plausible explanation for why characters like Edgar and Cordelia are good people while the fathering of Gloucester and Lear can only be assumed as bad. Even still, I wonder how the play would be different if there were mothers in it. Could Lear act differently early in the play if he had someone that could call him out for his outrageous acts? Would characters like Edmund, Goneril, and Regan end up developing into better people if they had more significant maternal figures? Overall, I think the absence of mothers reflects many of the other topics of the play, like family dynamics and power.

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