Explain_How_Far_Act_1_of_‘King_Lear’_Exhibits_Features_of_the_Tragedy_Genre.

Explain how far Act 1 of ‘King Lear’ exhibits features of the tragedy genre. King Lear is among the most complex and contradictory of Shakespeare’s works. While the play has no single character with the intellectual or sensual appeal of a Hamlet, Falstaff, Cleopatra, Richard III or even a Rosalind, it treats in the most vivid and dense language a vast array of problems. The tragedy’s cumulative effect is deeply troubling and, in its own fashion, subversive. One way in which Shakespeare exhibits features of the tragedy genre within King Lear, is through the characterisation of Lear himself. Lear is an elderly king on the brink of madness. The tragic features kick in right from the off when Lear has set up a private competition in which his daughters have to praise him for his own egotistical ways; however it seems that Lear already has decided who has won. An example of this would be in Lear’s first speech, on lines 47-52; ‘Tell me, my daughters, since now we will divest us both of rule, interest of territory, cares of state, which of you shall we say doth love us most, that we our largest bounty may extend where nature doth with merit challenge’. By analysing this, it’s almost as if Lear has to bribe his daughters to show affection towards him. Goneril and Regan are the first of his kin to take to the stage praising their father in such exaggerating ways. There’s almost a sense of naivety in Lear, which is an unusual characteristic for a King, as he believes what his daughters Gonerill and Regan say about him, which becomes apparent later on in the play that they are prevaricating their father. His youngest daughter, Cordelia, goes last. It is clear that she is the most honest and truthful of the three. Lear again shows his desperation for affection, from lines 91-95; Cordelia: ‘Unhappy that I am, I cannot heave my heart into my mouth. I love your majesty according to my bond, no more nor less’. Lear: ‘How, how, Cordelia! Mend your speech a little lest you may mar your fortunes’. It is apparent that Lear is an ignorant man, who believes in sentimental goods rather than love, almost auctioning off his daughters, offering them dowers for a taste of their care. However it is clear that Lear is conscious of is age and just wants to be looked after, although he still wants to keep his power and status. This shows Lear’s poor mental state, in which he loses the respect and trust from his closest followers, as well as the civilians of Britain. This shows an element of hamartia, as his naivety and false sense of security ends up with tragic consequences. Another way that Shakespeare exhibits tragic features in scene one is through the plot and sub plot. . The plot and sub-plot both contain deceit and treachery on a high scale, with Gonerill and Regan plotting against King Lear, and Edmund trying to turn his father Gloucester against his brother Edgar. This is a perfect example of such figures as the tragic hero, tragic victim and tragic villain. King Lear is the tragic hero, as Aristotle stated a tragedy must be a drama about persons and things of some importance, where the highly placed hero is brought, which sums up King Lear. The tragic villains of the play would be Gonerill and Regan, as they die due to suffering from the consequences that they implemented. Edmund would be another example of a tragic villain. Examples of tragic victims would be Cornwall (Regan’s husband), Oswald (Gonerill’s servant) and Gloucester (Edgar and Edmund’s father). In an arguable matter, Cordelia may also be seen as a tragic victim, considering that she does eventually gather the reign, but is then held hostage by her nephews and commits suicide. The plot and sub plot also follow certain roles and themes. Both revolve around treachery and dowers, what with Gonerill and Regan wanting the majority of land and power off their father and the same with Edmund attempting to trick his father Gloucester into giving him his land instead of his legitimate son Edgar. Shakespeare’s use of dramatic devices also exhibit elements of tragedy. The use of ‘asides’ in the play give us inner thoughts of some of the character, particularly Cordelia in Act 1. An example would be; ‘Then poor Cordelia! And yet not so, since I am sure my love’s more ponderous than my tongue’. Shakespeare also uses dramatic irony very effectively. We see this in the form of that the two daughters who fed his ego so much and showed him affection when he wanted to hear it, ended up betraying him, whereas the daughter who was true and honest and refused to flatter him, came back and returned to his aid when he needed it most. Another example of dramatic devices used in King Lear would be the usage of monologues, where a character is speaking their thoughts aloud, directed at other characters or the audience. These are used to cause controversy and unsettle the crowd, as the character’s thoughts may lead to an altercation between groups of characters. An example of a monologue in use in Act 1 would be from Cordelia, in Scene 1, line 76: ‘Unhappy that I am, I cannot heave my heart into my mouth’. This is where she refuses to iterate her feelings towards Lear, causing discomfort between the pair, as Lear eventually neglects Cordelia, which links to the example of dramatic irony, as Cordelia is the one who is by Lear’s side at the end of the play. Another example would be in Act 1, Scene 4, where Gonerill blurts out: ‘Not only, sir, this your all-licens’d fool’. There is only one intention Gonerill has by saying this, she emphasises her opinion of the Fool towards the crowd, which leads to discussion from the crowd. One of the main themes associated with tragedy in King Lear is love. The conflict between Cordelia and Lear begins when Cordelia is unable to ‘heave her heart into her mouth’. Although her love for Lear is true, she is unable to verbalise it. This is where tragedy links in, Lear’s mistake is that despite knowing Cordelia’s love towards him, he refuses to acknowledge it, and banishes her for her silence and hesitance. Another prominent theme within King Lear is loss and betrayal. The plot and sub plot both intertwine with the idea of sons and daughters betraying their fathers and the rest of their family. In the main plot we see, Gonerill and Regan betraying there father King Lear and at the same time dismissing their sister into banishment and with the sub plot, Edmund tries to gain his father’s land by tricking him into thinking his brother Edgar is plotting against, hence betraying his brother. These themes of loss and betrayal coincide with a theme of deceit. him, he refuses to acknowledge it, and banishes her for her silence and hesitance. The ending of the play is exceedingly ironic, as Cordelia finally declares her feelings towards Lear when they are united, and Gonerill and Regan are dead. But then tragedy creeps in again, as their love is overwhelmed and crushed by tragic events. Love is also portrayed alongside tragedy in King Lear, with Lear’s misinterpretation of love. Lear’s mistake results in him being denied the love of his faithful daughter Cordelia; where the source of his deranged nature and madness are his two crooked daughters, as they repay his love with deceit and wickedness.