with Timon is a good deal the stronger. And, returning to the point from which these comparisons began, I would now add that there is in King Lear a reflection or anticipation, however faint, of the structural weakness of Timon. This weakness in King Lear is not due, however, to anything intrinsically undramatic in the story, but to characteristics which were necessary to an effect not wholly dramatic. The stage is the test of strictly dramatic quality, and King Lear is too huge for the stage. Of course, I am not denying that it is a great stage-play. It has scenes immensely effective in the theatre; three of them-the two between Lear and Goneril and between Lear, Goneril and Regan, and the ineffably beautiful scene in the Fourth Act between Lear and Cordelia-lose in the theatre very little of the spell they have for imagination; and the gradual interweaving of the two plots is almost as masterly as in Much Ado. But (not to speak of defects due to mere carelessness) that which makes the peculiar greatness of King Lear, -the immense scope of the work; the mass and variety of intense experience which it contains ; the interpenetration of sublime imagination, piercing pathos, and humour almost as moving as the pathos; the vastness of the convulsion both of nature and of human passion; the vagueness of the scene where the action takes place, and of the movements of the figures which cross this scene; the strange atmosphere, cold and dark, which strikes on us as we enter this scene, enfolding these figures and magnifying their dim outlines like a winter mist; the half-realised suggestions of vast universal powers working in the world of individual fates and passions,-all this interferes with dramatic clearness even when the play is read, and in the theatre not only refuses to reveal itself fully through the senses but seems to be almost in contradiction with their reports. This is not so with the other

great tragedies. No doubt, as Lamb declared, theatrical representation gives only a part of what we imagine when we read them; but there is no conflict between the representation and the imagination, because these tragedies are, in essentials, perfectly dramatic. But King Lear, as a whole, is imperfectly dramatic, and there is something in its very essence which is at war with the senses, and demands a purely imaginative realisation. It is therefore Shakespeare's greatest work, but it is not what Hazlitt called it, the best of his plays; and its comparative unpopularity is due, not merely to the extreme painfulness of the catastrophe, but in part to its dramatic defects, and in part to a failure in many readers to catch the peculiar effects to which I have referred, a failure which is natural because the appeal is made not so much to dramatic perception as to a rarer and more strictly poetic kind of imagination. For this reason, too, even the best attempts at exposition of King Lear are disappointing; they remind us of attempts to reduce to prose the impalpable spirit of the Tempest.

I propose to develop some of these ideas by considering, first, the dramatic defects of the play, and then some of the causes of its extraordinary imaginative effect.

I

We may begin, however, by referring to two passages which have often been criticised with injustice. The first is that where the blinded Gloster, believing that he is going to leap down Dover cliff, does in fact fall flat on the ground at his feet, and then is persuaded that he has leaped down Dover cliff but has been miraculously preserved. Imagine this incident transferred Othello, and you realise how completely the two tragedies differ in dramatic atmosphere. In Othello it would be a shocking or a ludicrous

to

dissonance, but it is in harmony with the spirit of King Lear. And not only is this so, but, contrary to expectation, it is not, if properly acted, in the least absurd on the stage. The imagination and the feelings have been worked upon with such effect by the description of the cliff, and by the portrayal of the old man's despair and his son's courageous and loving wisdom, that we are unconscious of the grotesqueness of the incident for

common sense.

The

The second passage is more important, for it deals with the origin of the whole conflict. oft-repeated judgment that the first scene of King Lear is absurdly improbable, and that no sane man would think of dividing his kingdom among his daughters in proportion to the strength of their several protestations of love, is much too harsh and is based upon a strange misunderstanding. This scene acts effectively, and to imagination the story is not at all incredible. It is merely strange, like so many of the stories on which our romantic dramas are based. Shakespeare, besides, has done a good deal to soften the improbability of the legend, and he has done much more than the casual reader perceives. The very first words of the drama, as Coleridge pointed out, tell us that the division of the kingdom is already settled in all its details, so that only the public announcement of it remains.1 Later we find that the lines of division have already been drawn on the map of Britain (1. 38), and again that Cordelia's share, which is her dowry, is perfectly well known to Burgundy, if not to France (11. 197, 245). That 1'Kent. I thought the king had more affected the Duke of Albany than Cornwall.

Glos.

It did always seem so to us: but now, in the division of the kingdom, it appears not which of the dukes he values

most.'

For (Gloster goes on to say) their shares are exactly equal in value. And if the shares of the two elder daughters are fixed, obviously that of the third is so too.

then which is censured as absurd, the dependence of the division on the speeches of the daughters, was in Lear's intention a mere form, devised as a childish scheme to gratify his love of absolute power and his hunger for assurances of devotion. And this scheme is perfectly in character. We may even say that the main cause of its failure was not that Goneril and Regan were exceptionally hypocritical, but that Cordelia was exceptionally sincere and unbending. And it is essential to observe that its failure, and the consequent necessity of publicly reversing his whole wellknown intention, is one source of Lear's extreme anger. He loved Cordelia most and knew that she loved him best, and the supreme moment to which he looked forward was that in which she should outdo her sisters in expressions of affection, and should be rewarded by that 'third' of the kingdom which was the most opulent.' And then-so it naturally seemed to him-she put him to open shame.

There is a further point, which seems to have escaped the attention of Coleridge and others. Part of the absurdity of Lear's plan is taken to be his idea of living with his three daughters in turn. But he never meant to do this. He meant to live with Cordelia, and with her alone.1 The scheme of his alternate monthly stay with Goneril and Regan is forced on him at the moment by what he thinks the undutifulness of his favourite child. In fact his whole original plan, though foolish and rash, was not a hideous rashness' or incredible folly. If carried out it would have had no such consequences as followed its alteration. It would probably have led quickly to war,3

·

'It is to Lear's altered plan that Kent applies these words.

There is talk of a war between Goneril and Regan within a fortnight of the division of the kingdom (II. i. 11 f.).

but not to the agony which culminated in the storm upon the heath. The first scene, therefore, is not absurd, though it must be pronounced dramatically faulty in so far as it discloses the true position of affairs only to an attention more alert than can be expected in a theatrical audience or has been found in many critics of the play.

Let us turn next to two passages of another kind, the two which are mainly responsible for the accusation of excessive painfulness, and so for the distaste of many readers and the long theatrical eclipse of King Lear. The first of these is much the less important; it is the scene of the blinding of Gloster. The blinding of Gloster on the stage has been condemned almost universally; and surely with justice, because the mere physical horror of such a spectacle would in the theatre be a sensation so violent as to overpower the purely tragic emotions, and therefore the spectacle would seem revolting or shocking. But it is otherwise in reading. For mere imagination the physical horror, though not lost, is so far deadened that it can do its duty as a stimulus to pity, and to that appalled dismay at the extremity of human cruelty which it is of the essence of the tragedy to excite. Thus the blinding of Gloster belongs rightly to King Lear in its proper world of imagination; it is a blot upon King Lear as a 'stage-play.

But what are we to say of the second and far more important passage, the conclusion of the tragedy, the 'unhappy ending,' as it is called, though the word 'unhappy' sounds almost ironical in its weakness? Is this too a blot upon King Lear as a stage-play? The question is not so easily answered as might appear. Doubtless we are right when we turn with disgust from Tate's sentimental alterations, from his marriage of Edgar and Cordelia, and from that cheap moral which